BWW Reviews: Opera Australia's FAUST Is A Fantastic Dance with The Devil
Opera Australia's new interpretation of FAUST is a delicious mix of hedonism, debauchery, desire and despair.
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BWW Reviews: HGO's MAGIC FLUTE Hits Every Note
I am taken back to the first Opera I saw as a kid and the pomp and circumstance with wearing a tux and walking to the lavish theatre; this was when I fell in love with classical music.
BWW Reviews: With Mattei as the Lead and Gilbert at the Helm, GIOVANNI Settles the Score at the Met
I consider Mozart's DON GIOVANNI at the top of my list of favorite operas--the music starts to go through my head without much encouragement and gets stuck there.
Opera in the Heights Wins with the Rare LA CLEMENZA DI TITO
Mozart's infrequently performed LA CLEMENZA DI TITO is well-done by Opera in the Heights.
BWW Reviews: SWEENEY TODD, the Demon Barber of State Street
Emerging from the dark prisons of Fidelio comes a show with darker themes, a more sinister villain, and higher stakes.
BWW Reviews: Westmont's NIGHT AT THE OPERA
Westmont's one-act operas are an example of student theatre that takes risks and introduces conversations about the diverse range of possibilities within the sphere of the theatrical arts.
BWW Reviews: Netrebko and Beczala A Potent Duo in IOLANTA Debut at the Met
I don't know when the next time the Met is planning to bring back Tchaikovsky's final opera, IOLANTA (libretto by his brother Modest) into its repertory, but they should, and quickly.
BWW Reviews: Austin Opera's Star-Crossed Lovers Shine in ROMEO & JULIET
Without a doubt, Gounod's ROMEO & JULIET is one of Austin Opera's finest productions, and they have assembled a cast of the highest caliber.
BWW Reviews: Winter Opera St. Louis Shines with Rare Mascagni
Winter Opera St.
BWW Reviews: NY Philharmonic Flexes Its Operatic Muscles with Verdi REQUIEM
With all its money problems, why hasn't the Met thought about doing some lesser known works in concert? Or, for that matter, marshalled some of its glamorous resources to put on the Verdi REQUIEM? For the time being, we have to be grateful for the New York Philharmonic and its Music Director Alan Gi
BWW Reviews: Opera Australia's Presents Puccini's MADAMA BUTTERFLY With Pared Back Simplicity
Moffatt Oxenbould's (Director) staging of MADAMA BUTTERFLY is revived by Matthew Barclay (Revival Director) to share this doomed love story with new audiences.
BWW Reviews: WIDOW is Not Very Merry with Fleming in Charge at the Met
Once upon a time, the Met used to be able to pull off an operetta, like the Rudolf Bing-era FLEDERMAUS, with its Garson Kanin libretto and lyrics by Broadway's Howard Dietz.
BWW Reviews: PENNY Finds Voice at Washington National Opera Premiere
The idea of finding your voice is a two way street in the world premiere one-hour opera PENNY.
BWW Reviews: HOFFMANN is a Messy, but Enjoyable, Tale at the Met
Is there another staple of major opera houses that's as big a mess as LES CONTES D'HOFFMAN by Jacques Offenbach? If there is, I can't think of it--but it doesn't keep it from being wildly enjoyable in the right hands.
BWW Reviews: Thrilling Violetta from Sonya Yoncheva Finds the Truth in Met LA TRAVIATA
For the second time in two seasons, casting has made me reconsider a Met production that I'd written off as past its expiration date.
BWW Reviews: The Mariinsky's THE ENCHANTED WANDERER at BAM
Thirteen years after its concert premiere with the New York Philharmonic, New Yorkers finally saw a fully staged production of Rodion Shchedrin's opera THE ENCHANTED WANDERER.
BWW Reviews: DiDonato Provides Goosebumps in MARIA STUARDA at Barcelona's Liceu
Donizetti's MARIA STUARDA is a chamber piece blown up to grand opera proportions.
BWW Reviews: Opera Australia Proves Puccini's Tale Of Love and Death Is Timeless With Their Restaging of TOSCA
Opera Australia brings Puccini's classic TOSCA to life with John Bell's (Director) resetting which takes the story from the Neapolitan occupied Rome of 1800 during the French Revolutionary wars to Nazi occupied Rome 1943 during World War II.
BWW Reviews: TOXIC PSALMS New York Premiere
One moment, the performers march militantly across the stage and screech like sirens, the next, they sing Pergolesi's galant Stabat Mater like sweet seraphim.
BWW Reviews: THE SCARLET IBIS World Premiere in New York
THE SCARLET IBIS is one of three new operas to have its world premiere as a part of this year's PROTOTYPE FESTIVAL, New York's incubator for cutting edge, interdisciplinary performance.
BWW Reviews: Opera Australia's LA BOHÈME Is a Moving and Powerful Interpretation Of This Timeless Story
Opera Australia presents a powerful, emotion charged re-imagining of Puccini's LA BOHÈME which proves once again that this love story remains relevant, regardless of which century it is set.
BWW Reviews: Mozart's THE MAGIC FLUTE Gets A Modern Makeover For Children
Opera Australia brings back Julie Taymor's modern interpretation of THE MAGIC FLUTE, for the 2015 Summer Season.
BWW Reviews: Top New York Opera Performances in 2014 -- Ah, Yes, I Remember Them Well
For New York opera-goers, what was the event of the year? Undoubtedly, John Adams's THE DEATH OF KLINGHOFFER, not only for the kerfuffle caused by the [unfounded] claims of anti-Semitism but for the opera's exciting debut at the Met.
BWW Reviews: THE LITTLE PRINCE Lands at Kennedy Center
It seems only fitting that in its efforts to introduce a musical form as grown-up as the opera to younger audiences, that the Kennedy Center has picked for this holiday season the children's classic THE LITTLE PRINCE, a story all about grown-ups trying to understand children trying to understand gro
BWW Reviews: Hallelujah. The Collegiate Chorale Brings MESSIAH (Not) to Carnegie Hall
A funny thing happened on the way to Handel's MESSIAH: That would be Monty Python's LIFE OF BRIAN, transformed from the film by Eric Idle (the jokes) and John Du Prez (the music) into NOT THE MESSIAH (HE'S A VERY NAUGHTY BOY).
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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) |