BWW Review: COC's ELIXIR OF LOVE is Charming to the Core
Small town charm is the fuel for the Canadian Opera Company's ELIXIR OF LOVE.
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BWW Review: DON PASQUALE at Opera Studio
Director, Cath Dadd, has put together an hilarious production with a cast to die for.
BWW Review: Moved by WE SHALL NOT BE MOVED at Harlem's Apollo Theatre via Opera Philadelphia
WE SHALL NOT BE MOVED, which made its NY debut in a pair of performances at the Apollo Theatre in Harlem last weekend, after its world premiere at Opera Philadelphia's O17 festival last month, is more than an opera or performance piece.
BWW Review: Grigolo in Fine Form and Morley is a Doll in Met's HOFFMANN
There are no happy endings for the poet Hoffmann (even in the solid hands of the charismatic tenor Vittorio Grigolo) or any of the women he fantasizes about in Offenbach's LES CONTES D'HOFFMANN (TALES OF HOFFMANN).
BWW Review: THE PEARL FISHERS at Dorothy Chandler Pavilion
On October 7, 2017, Los Angeles Opera presented Georges Bizet's THE PEARL FISHERS starring sweet-voiced Mexican star tenor Javier Camarena as Nadir.
BWW Review: Aucoin's CROSSING at BAM's New Wave Festival Hears America Singing and Crying
I wouldn't exactly call Matt Aucoin, 27, a show-off, even though he wrote the music and libretto for THE CROSSING--his 2015 opera having its NY debut at BAM's Next Wave Festival this past week--and conducted the performance as well.
BWW Review: Canadian Opera Company's ARABELLA Sparkles in Every Way
Swanky sets, shimmering voices, sumptuous costumes - it all sparkles when met with sublime Strauss.
BWW Review: BORGIA INFAMI Premieres at the Edison Theatre
Now, modern scholars tend to exonerate Lucrezia from being the diabolical poisoner that her enemies have portrayed for 400 years.
BWW Review: Radvanovsky is a Blazing NORMA, DiDonato Shines in New Met Production
The trio of soprano Sondra Radvanovsky, mezzo Joyce DiDonato and tenor Joseph Calleja promised a fine evening of singing for the Met's new NORMA and, for the most part, there wasn't much to quibble about.
BWW Review: A Whirlwind Named ELIZABETH CREE by Puts and Campbell Blows into Opera Philadelphia
Winston Churchill called Russia 'a riddle wrapped in a mystery inside an enigma.
BWW Review: Of Fairy Tales and Trials at Opera Philadelphia's WAKE WORLD and MAGIC FLUTE
Superficially, Wolfgang Mozart's THE MAGIC FLUTE (or DIE ZAUBERFLOTE for you purists) and David Hertzberg's THE WAKE WORLD couldn't seem less alike and, taken together, they stretch the definition of what makes an opera.
BWW Review: FOUR NIGHTS in a Single Evening at the Japan Society
FOUR NIGHTS OF DREAM, composer/librettist Moto Osada's opera performed in its US premiere last week at the Japan Society, is based on a cornerstone of 20th century Japanese literature, 'Ten Nights of Dream' by Natsume Soseki.
BWW Review: STL Opera Collective Presents TESLA'S PIGEON and TO HELL AND BACK
Since our resident opera critic, Steve Callahan, was appearing in one of the pocket operas produced this past weekend (September 8-9, 2017) by the STL Opera Collective, he asked if I would cover the shows, and I was happy to do so.
BWW Review: AIDA is a Visual and Auditory Sensation at The Kennedy Center
Verdi's sumptuous epic AIDA graces the Kennedy Center for the first time in more than 25 years, and it is a knock-out.
BWW Review: Puccini's Minnie is No Mouse in NY City Opera's Lively FANCIULLA DEL WEST
The last time the Met did Puccini's LA FANCIULLA DEL WEST--GIRL OF THE GOLDEN WEST--it was such a dispiriting affair that I was ready to write it off as past its expiration date.
BWW Review: CARMEN at Dorothy Chandler Pavilion
CARMEN, the title character in Georges Bizet's opera, is a young woman who wants the social freedoms nineteenth century men simply took for granted.
BWW Review: LA VIDA BREVE/GIANNI SCHICCHI at Adelaide Town Hall
You will have to hurry to catch this terrific night out.
BWW Review: Mostly Mozart's DON GIOVANNI Goes Back in Time
Though the title role in Mozart's DON GIOVANNI goes to the fabled lady killer--and Mostly Mozart's production was lucky to have a first-rate Don in baritone Christopher Maltman--the opera is a real ensemble piece, with every one of a half dozen characters key to a successful performance.
BWW Review: HANSEL UND GRETEL at Union Avenue Opera
The Union Avenue Opera has opened a delightful production of H nsel und Gretel by Engelbert Humperdinck.
BWW Review: CAROUSEL at Union Avenue Opera
The Union Avenue Opera is so good at fulfilling our expectations - our expectations of really fine traditional opera.
BWW Review: ALCINA at Santa Fe Opera
George Frideric Handel composed the opera seria, ALCINA, for a 1735 premiere at London's Covent Garden.
BWW Review: THE GOLDEN COCKEREL at Santa Fe Opera
The Golden Cockerel was Nikolai Rimsky-Korsakov's last opera.
BWW Review: MADAMA BUTTERFLY at The Israeli Opera
For such a highly renowned opera such as Madama Butterfly numerous productions have been presented in the past century all around the world, and rightfully so, but with the new exquisite Israeli-Italian production, under the innovative and fresh direction of Keita Asari, it's clear that there's alwa
BWW Review: Costanzo Itchy to Bring Obscure Handel ACI to National Sawdust Audiences
ACI, GALATEA E POLIFEMO (ACIS, GALATEA AND POLYPHEMUS)--which just opened a short run at Brooklyn's National Sawdust venue, ending on July 20, with star countertenor Anthony Roth Costanzo--may be the most obscure Handel opera that you think you know but don't.
BWW Review: With Meade and PIRATA, Crutchfield's Bel Canto at Caramoor Goes Out with a Bang
Chemistry in an opera performance is a funny thing.
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Fiddler on the Roof Union Avenue Opera (7/03-7/11) |
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L’elisir d’amore Union Avenue Opera (7/24-8/01) |
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Samson et Dalila Union Avenue Opera (8/14-8/22) |