BWW Reviews: Houston Grand Opera's CARMEN is Sultry and Opulent
Closing their 2013-14 Season, HGO is presenting Georges Bizet's acclaimed CARMEN.
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BWW Reviews: One Small Step for MACBETH, One Huge Leap for Opera in Africa
In MACBETH, Brett Bailey gives us Shakespeare by way of Giuseppe Verdi's opera, filtered through Third World Bunfight's trademark post-colonialist, avant-garde manifesto.
BWW Reviews: Kristine Opolais' BUTTERFLY Spreads Its Glorious Wings at the Met
By this time in the Met's season, audiences can be a little “been there, done that”--but not when it came to Latvian soprano Kristine Opolais, singing the title role in Puccini's MADAMA BUTTERFLY for the first time in New York.
BWW Reviews: Soprano Karita Mattila Shimmers in Strauss's FOUR LAST SONGS at Carnegie Hall
Of all the music that Richard Strauss wrote during his long career—and he'd composed almost 60 songs and more than 40 piano works by the time he was 18—perhaps none are more gorgeous and moving than his FOUR LAST SONGS (VIER LETZTE LIEDER).
BWW Reviews: Houston Grand Opera's DAS RHEINGOLD is Full-Throttle Spectacle
Houston Grand Opera, which opened a lavish production of DAS RHEINGOLD this past weekend, is proudly kicking off their first Ring Cycle by Richard Wagner.
BWW Reviews: Furlanetto Conquers La Mancha - With Dignity
For two magical hours, Ferruccio Furlanetto lifted an embattled San Diego Opera from its doldrums to the lofty heights only such an artist can invoke, in his exquisite rendering of Jules Massenet's noble, genteel Don Quixote.
BWW Reviews: Millennials Approach and Amaze at Met Council Auditions Concert
In our age of 20-somethings suffering from arrested development, they say “25 is the new 15.
BWW Reviews: Opera in the Height's LUCIA DI LAMMERMOOR is Evocative and Atmospheric
Gaetano Donizetti was a tremendous influence on the operas of Giuseppe Verdi and laid the foundation for the popularity of Italian opera in the latter half of the nineteenth century.
BWW Reviews: What a Difference a Cast Makes, with Damrau and Camarena, in LA SONNAMBULA at the Met
It's always reassuring when a change of cast--in this case soprano Diana Damrau and tenor Javier Camarena in wonderful performances--transforms a truly terrible production into an exciting night at the opera.
BWW Reviews: Opera Australia's MADAMA BUTTERFLY
The opening night of Madama Butterfly was an experience like no other.
BWW Reviews: Poulenc's DIALOGUES OF THE CARMELITES is Timely, Compelling, at Aurora Chamber Opera Series
Poulenc's work about martyred nuns shows its modern relevance on stage at the Perelman Theatre in Philadelphia
BWW Reviews: WNO's THE ELIXIR OF LOVE Enchants With Expert Cast and Visually Stunning Production
THE ELIXIR OF LOVE, appearing in Italian at the Kennedy Center Opera House, is a feast for the ears and eyes.
BWW Reviews: New Voices Add Luster to LA BOHEME at the Met
I thought someone spiked the water cooler backstage at the Met during the first half of LA BOHEME on March 19.
BWW Reviews: WOZZECK Redux - Levine and the Met Orchestra Show Vienna Who's Boss
When the Vienna State Opera visited New York at the end of February, it brought Alban Berg's WOZZECK to Carnegie Hall as part of the “Vienna: City of Dreams” festivities.
BWW Reviews: Houston Grand Opera's A COFFIN IN EGYPT is Rarely Moving
Houston Grand Opera is presenting the World Premiere of A COFFIN IN EGYPT, a one-act chamber opera based on Horton Foote's play by the same title.
BWW Reviews: At the Met, Kaufmann in WERTHER Is to Die For
Maybe Richard Eyre's new production of WERTHER for the Metropolitan Opera, with strong performances by German tenor Jonas Kaufmann and French mezzo Sophie Koch, should have been called WERTHER: THE BACKSTORY or WERTHER: A FOOL'S GUIDE.
BWW Reviews: VITTORIO GRIGOLO--in Concert at the Met--Is Just Warming Up
Ever since the Three Tenors--Pavarotti, Domingo, Carreras--got together in Rome's Baths of Caracalla in 1990, the world of opera has never been the same.
BWW Reviews: At the Met, Kaufmann in WERTHER Is to Die For
Maybe Richard Eyre's new production of WERTHER for the Metropolitan Opera, with strong performances by German tenor Jonas Kaufmann and French mezzo Sophie Koch, should have been called WERTHER: THE BACKSTORY or WERTHER: A FOOL'S GUIDE.
BWW Reviews: Houston Grand Opera's A LITTLE NIGHT MUSIC is Extraordinarily Gorgeous
Ever since it premiered on Broadway in 1973, Stephen Sondheim's A LITTLE NIGHT MUSIC, with a book by Hugh Wheeler, has been a favorite of musical theatre fans.
BWW Reviews: Sondheim's SWEENEY TODD Is a Killer at the New York Philharmonic
Like the young Anthony Hope in Stephen Sondheim's scintillating SWEENEY TODD, “I've sailed the world, beheld its wonders…,” with SWEENEY TODDs ranging from the original cast in New York, to an all-Japanese version in Tokyo, and have never failed to be thrilled by it.
BWW Reviews: Sensational SALOME Seduces Carnegie Hall Audience
At a time when we're bombarded by lurid stories—in books, newspapers, television and film—it is a tribute to Richard Strauss's SALOME, first performed in 1905, that it has lost none of its impact and ability to shock.
BWW Reviews: Carnegie Hall's Audience Votes for WOZZECK from Vienna State Opera
Was baritone Thomas Hampson looking for some last-minute pointers at last night's concert performance of Alban Berg's WOZZECK with the Vienna State Opera/Vienna Philharmonic under music director Franz Welser-Most at Carnegie Hall? If he did--his role debut at the Met is Thursday--then he came to the
BWW Reviews: Gotham Chamber Opera Up in Arms at New York's Metropolitan Museum
Monteverdi's “Combattimento di Tancredi e Clorinda” twice in one season in New York, in performances only months apart? Especially after Anna Caterina Antonacci's riveting take on the 20-minute work last November at the Lincoln Center's White Light Festival, what more could a small opera company
BWW Reviews: Follow the Lieder, Part Two--JONAS KAUFMANN Conquers Carnegie
What does an opera singer do on his night off from singing the title role in Massenet's WERTHER in a new production at the Metropolitan? If he's the charismatic wunder-tenor Jonas Kaufmann, he heads over to Carnegie Hall to conquer another world, with his recital debut in an evening of German art so
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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) |
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Fiddler on the Roof Union Avenue Opera (7/03-7/11) |