Review: HANSEL AND GRETEL, Royal Ballet and Opera
Macabre and spectacular, this is Christmas fare as it once was and should still be, fully trusting its audience.
Opera Theater Reviews
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Review: Strauss’s Powerhouse FRAU OHNE SCHATTEN Casts Big Shadow at the Met
Richard Strauss’s DIE FRAU OHNE SCHATTEN (THE WOMAN WITHOUT A SHADOW), with a libretto by his long-time collaborator, Hugo von Hofmannsthal, has made a triumphant return to the Met with a stellar cast and the Met Orchestra in peak form under Yannick Nezet-Seguin.
Review: THE PIRATES OF PENZANCE, London Coliseum
Sarah Tipple brings the comedic opera to life with gloriously ridiculous period costumes, an outstanding cast and an abstract set that mirrors the plot’s absurdism with precision.
Review: MACBETH at Kennedy Center
Malevolence, greed, the thirst for power and the never-ending quest for revenge dominate the Washington National Opera production of composer Giuseppe Verdi’s Macbeth.
Review: THE ELIXIR OF LOVE, London Coliseum
Nostalgia isn’t what it used to be.
Review: THE SOUND VOICE PROJECT, Royal Ballet and Opera
Words run out, as The Voice is lost and recovered
Review: LUCIA DI LAMMERMOOR at Her Majesty's Theatre, Adelaide Festival Centre
There are only three more performances, so book quickly.
Review: THE TALES OF HOFFMANN, Royal Ballet and Opera
Damiano Michieletto brings plenty of pizzazz to Offenbach's crowdpleaser, but wastes some of his on-stage talents
Review: SAN DIEGO OPERA PRESENTS LA BOHÈME at San Diego Civic Center
What did our critic think of SAN DIEGO OPERA PRESENTS LA BOHÈME at San Diego Civic Center? San Diego Opera celebrated the opening of its 60th season with Giacomo Puccini’s La bohème, the same opera the company staged to open its first season.
Review: Top Singing and Tap Dancing Highlight Richard Tucker Awards Gala
As usual, the gala concert of the Richard Tucker Music Foundation started off with an interloper from the golden age of opera: Richard Tucker himself, singing Mascagni’s “Addio alla Madre” from CAVALLERIA RUSTICANA.
Review: The Marx Brothers Found Life in TROVATORE that the Met Couldn’t Muster
I must admit that the Met’s current revival of IL TROVATORE--with RIGOLETTO and TRAVIATA, considered the great creations of Verdi’s middle period--made me think of another masterwork, “A Night at the Opera,” my favorite of the movies by those champions of silliness, the Marx Brothers.
Review: RIGOLETTO, London Coliseum
There’s no shame in pulling an old favourite from the vaults but Jonathan Miller’s 1982 gangster-themed production is firing blanks in this latest revival.
Review: CARMEN at Polish National Opera
What did our critic think of CARMEN at Polish National Opera?
Review: FIDELIO at Kennedy Center
The Washington National Opera’s production of Beethoven’s Fidelio is a triumph of elegant, efficient style and directorial finesse.
Review: GODS & MORTALS: A CELEBRATION OF WAGNER at The Kennedy Center
'Gods & Mortals: A Celebration of Wagner' is a beautiful, if limited, array of performances and works highlighting both the composer and Kennedy Center’s own wonderful talent.
Review: ACIS AND GALATEA at Elgin and Winter Garden Theatre
Opera Atelier’s production of G.
Review: FAUST at Four Seasons Centre For The Performing Arts
Vocally and musically, the Canadian Opera Company's production of Gounod's Faust directed by Amy Lane was a sumptuous feast for the ears.
Review: RENÉE FLEMING AND THE NATIONAL SYMPHONY ORCHESTRA at Kennedy Center
With the size of theatrical orchestras being drastically cut, one of the few places left to hear a full string section is at a symphonic concert.
Review: Golijov-Hwang AINADAMAR Brings Dreams, Flamenco and Death in Met Debut
Osvaldo Golijov’s AINADAMAR, which made its Met debut this week, with a libretto translated by the composer from the English original by David Henry Hwang, isn’t the first Spanish language opera at the Met, but it’s certainly the first to sound that way.
Review: THE TURN OF THE SCREW, London Coliseum
Isabella Bywater ratchets up the tension, as Ailish Tynan and Jerry Louth shine as the governess and her male charge.
Review: TROUBLE IN TAHITI and THE QUIET PLACE, Royal Ballet and Opera
If you're a parent, brace yourself - and enjoy the glorious singing and fine music writes our critic about TROUBLE IN TAHITI and THE QUIET PLACE.
Review: FIDELIO, Royal Ballet and Opera
Tobias Kratzer’s production pulls the rug from underneath you writes BWW's critic.
Review: With Great Music But Little Jesting, RIGOLETTO Returns to the Met
“This is not a cathartic tragedy or a tale of noble sacrifice.
Review: Droning Overwhelms the Lives of THE LISTENERS in New Mazzoli-Vavrek Opera
It’s fascinating that within two weeks, as the new US opera season began in earnest, Northeast operagoers heard a pair of new (or new-ish) operas by well-known creators: the US premiere of THE LISTENERS at Opera Philadelphia, by Missy Mazzoli and Royce Vavrek and the much-revised GROUNDED by Jeani
Review: SUOR ANGELICA, London Coliseum
Annilese Miskimmon reimagines the tragic tale against the backdrop of a convent in 1960s Ireland in an unsettling production with some outstanding performers that combine with Puccini's haunting score in a compelling production.