Tag Archive | Review
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.”
A misguided “Sweeney Todd” and an adaptation of “The Crucible” round out a weekend at the Glimmerglass Festival.
Pietro Mascagni’s grim opera about a stultifyingly naïve girl who is kidnapped from her blind father by a lecherous young man and then sold into prostitution in legendary Japan seems unnecessarily nauseating and indeed, it sometimes feels that way. But sordid stories often yield stunning operas, and Iris, now seeing the light of the sun (Ha!) in a rare revival as part of Bard College’s 2016 SummerScape festival, is everything verismo should be: Devastating, provocative, and direct.
They may make a mismatched pair, but both Die Entfürung aus dem Serail and Elektra (especially Elektra) are being executed with great care at the Met.
The English Concert, in their annual Carnegie Hall operatic appearance, never fails to impress, and intelligent, confident music making at Sunday’s performance of Handel’s Orlando made a sterling case for Baroque opera as exciting theater.
Winning performances by Javier Camarena and Eleonora Buratto dominate this uneven-yet-enjoyable revival of Donizetti’s “Don Pasquale” at the Met.
Despite smart and sensitive phrasing choices throughout and a thorough, unique characterization, Ana Maria Martinez couldn’t quite bring herself to the climactic high notes at the heart of Butterfly’s arias.