***This review has been edited from its original form. A previous version stated that the presentation of the concert version was the result of a “break down of the machine” by Robert LePage, which was incorrect and irresponsibly misinterpreted information on the part of the writer. Last June, the Metropolitan Opera announced that its upcoming production of “La Damnation de {…}
(Photo Credit: Jennifer Taylor) On Jan. 14, 2020, SongStudio opened its second year of masterclasses and performances at Carnegie Hall, continuing in the legacy of supporting and nurturing young artists started by revered mezzo-soprano Marilyn Horne. Among the distinguished instructors of the program, led by Renée Fleming, were Elīna Garanča, Julia Bullock, Gabriel Kahane, and Hartmut Holl, Gabriel Kahane The {…}
(Credit: Brian Paulette) Experimentation and adventurous programming are at the heart of The Lyric Opera of Kansas City’s Explorations series. A recent departure for the company, brainchild of General Director and CEO Deborah Sandler, and held in its fine new production facility in the Crossroads district downtown, the series also provides excellent opportunities to showcase the company’s Resident Artists, and {…}
(Credit: Miguel Lorenzo / Mikel Ponce) Richard Strauss’ “Elektra,” one of the most audacious and darkest operas in the entire repertory, is a massive undertaking for any opera company. In the case of the Palau de Les Arts, the Robert Carsen production of the gripping opera was presented with great intensity further amplified by the appearance of Irene Theorin in {…}
(Photo Credit: Sunny Martini / Seattle Opera) Seattle Opera’s production of Tchaikovsky’s “Eugene Onegin” has travelled around, being co-owned by regional opera companies in Kansas City, Honolulu, Detroit, Atlanta, and Seattle, with costumes rented from Santa Fe Opera. And while it was musically and emotionally rewarded, the mounting on January 11 was visually staid. Roads Not Taken For Tchaikovsky’s opera {…}
This past summer, OperaWire published an interview with “Ellen West” headliner Jennifer Zetlan. When asked what she wanted audiences to take away from her experience with the opera, Zetlan’s replied that, to her, an extremely successful evening of live theater or opera was one in which the audience leaves feeling their soul touched, adding “… I hope our audiences will find themselves deeply moved {…}
East met West during Wednesday evening’s performance of Garret Fisher and Ellen McLaughlin’s “Blood Moon,” a chamber opera for three voices staged at the Baruch Performing Arts Center in New York, one of six opera/musical theater productions featured in this year’s Prototype Festival. The show was the third in its world premiere run. Commissioned by Beth Morrison Projects, the creative {…}
(Photo Credit: Marty Sohl / Metropolitan Opera) On Jan. 9, 2020, the Metropolitan Opera resumed this season’s run of Puccini’s “La Bohème.” Zeffirelli’s classically gorgeous production was enlivened by a solid cast of artists under the baton of conductor Marco Armiliato. For this revival, Gregory Keller directed the production which saw it’s performers through a myriad of comedic, animated interactions {…}
This review is for the performance on Jan. 13, 2020. It all started with a breath. But it wasn’t a relaxed breath but an irritated, almost obstructed one. And there was a moan or a hum; a repeated one that built a unique tension and longing at the HERE Mainstage. This is how “Magdalene,” the latest opera created by Danielle {…}