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.
The triptych of Gaetano Donizetti’s Tudor Queens is a famously challenging cycle for any diva. Most notably sung by Beverly Sills at New York City Opera, the three queens at the centerpieces of Donizetti’s Anna Bolena (Anne Boleyn), Maria Stuarda (Queen Elizabeth OR Mary Stuart, depending on what angle you come from), and Roberto Devereux […]
Despite the initial curiosity of recreating the same production that was seen at the opera’s premiere in 1900, the Tosca that arrived at the Rose Theater this week seemed an odd successor to a company that prided itself on artistic innovation on every level.
The problem that lies in many Met performances of Tosca is that they have made the extraordinary painfully ordinary.