The latest reviews and critic recommendations from Opera.
A little over a week ago I attended my first opera, Opera Grand Rapids' production of The Magic Flute, a fairy tale with the traditional fairytale themes of love and of good versus evil.
On Sunday October 28, 2018, Pacific Opera Project (POP) presented Giuseppe Verdi's well-loved opera, LA TRAVIATA to a full house at Occidental College's Thorne Hall in Pasadena.
BWW Review: TOSCA at Metropolitan Opera
The San Diego Opera's production of Mozart's The Marriage of Figaro featured expressive singing, clever attractive sets, beautiful costumes, and strong comedic and dramatic acting.
The music is magical, with all its coloratura, patter, and character from the principals, male chorus, and orchestra magnificently managed by Tomaš Hanus, but there's still some magic amiss in this staging from Welsh National Opera.
Tragedy raw in tooth and claw in this revival of the ENO's 2008 production of Lucia di Lammermoor.
Avignon's Opéra Confluence is a challenging space, located some kilometers outside the town center near the TGV train station.
Site-specific performances are the latest thing for opera companies wanting to venture into works that wouldn't comfortably fit in a 500-, 1000- (or more) seat theatre.
Antonio Pappano's conducting of the work evoked gloom but didn't approach closely enough the more sinister subject of death.
Sometimes, it's nice to remember a time when opera was all about wonderful singing, singing and more singing.
Nico Muhly's MARNIE, aided and abetted by Nicholas Wright's libretto, dramaturg Paul Cremo and the sweeping production of Michael Mayer--which had its US premiere Friday night at the Met--is that fabled “riddle, wrapped in a mystery, inside an enigma.
Anyone who was expecting the equivalent of Bette Midler's arrival as Dolly in the Harmonia Gardens when Jonas Kaufmann finally returned to the Met, on October 17, after four years and some high-profile cancellations, must have been wildly disappointed.
I grew up with many versions of the Frankenstein story--some with greater nods to Mary Shelley's novel than others--spending Saturday afternoons being scared witless and loving every minute of it.
THE MILE-LONG OPERA's composer David Lang says he is trying to expand the definition of what an opera is.
Genre is not a word that seems to be in Renee Fleming's vocabulary, just as her vocal ability does not confine her to a certain arena.
Missy Mazzoli had me with BREAKING THE WAVES, her 2016 opera written with librettist Royce Vavrek at Opera Philadelphia and PROTOTYPE 2017.
Whether from disease, 19th century #MeToo-style abuse, or unrequited love, Opera Philadelphia's (OP) Festival O18 opening weekend showed us three ways that central female characters lost their grip on reality.
Well, no one could accuse the opening of the Met's new season, with Darko Trasnjak's production of Saint-Saens' SAMSON ET DALILA, to Ferdinand Lemaire's libretto, of being drab.
'A Ukrainian Jew walked into a bar in Havana.
![BWW Review: Bullock's Back and the [Other] Met's Got Her](https://cloudimages2.broadwayworld.com/columnpic10/2002002C1920BF-C406-B427-2A6477C74CDD0174.jpg?format=auto&width=220)
Soprano Julia Bullock is at the Met in New York this year--but not necessarily the one that comes to mind when you're thinking about performances by an opera singer.
Before there was Wolfgang Amadeus Mozart, there was Antonio Salieri.
Kurt Weill's 'Lost in the Stars' brings a moving tale of South Africa to the Union Avenue Stage.
Lincoln Center's MOSTLY MOZART FESTIVAL is over for the season and finished up with a program that was an oddity because it wasn't mostly Mozart (or no Mozart) but all Mozart.
Ashley Fure's and Adam Fure's THE FORCE OF THINGS: AN OPERA FOR OBJECTS--one of this week's unusual attractions at Lincoln Center's Mostly Mozart Festival--took place at Brooklyn's Gelsey Kirkland Academy of Classical Ballet.
Anyone who loves Leos Janacek's gorgeous but grim operas--JENUFA, KATYA KABANOVA, MAKROPOLOUS--might be surprised by THE CUNNING LITTLE VIXEN.
