Amidst opulent, savage, dynamically varied music and arresting moments, innovative uses of the orchestra, and wide-ranging vocal writing, Adès opted to forsake the satire in Buñuel’s film for its darkness.
After a very busy couple of months, I’m excited to be back with some links to reviews I wrote of performances from the month of September. Both casts in Washington National Opera’s Aïda on Parterre Box The National Gallery’s concert presentation of Letters from Ruth on Washington Classical Review Signature Theatre’s production of A Little […]
Please head over to Parterre Box to read my thoughts on Anna Netrebko’s magnificent return to the role of Violetta in La Traviata at Teatro alla Scala in Milan last week.
Read my recently-published program notes for Lyric Opera of Chicago’s new production of “Carmen”!
Working with an ensemble that obviously had deep feeling for the music, Noseda drew thoughtful, balanced playing from the utterly responsive LSO. All throughout, his controlled-yet-fluid conducting reflected the grandiose scale of the piece, a monumental expression of mourning and human confrontation with death.
With the white-knuckled Karita Mattila playing the upright, deeply conflicted Kostelnicka, it simply isn’t possible to look away.
Washington National Opera opened its 2016-17 season last week with an uneven, unjaded, if not unenjoyable, performance of Mozart’s The Marriage of Figaro that just couldn’t turn separate “jinx” from the desired “hijinks.”