The Los Angeles Opera’s 2018-19 season closes this June with a return of Marta Domingo’s “Roaring ‘20s” production of Verdi’s “La Traviata.” On opening night, I found this an effective, straight, yet moving rendition of Verdi and Piave’s account of Violetta the courtesan, close to death, who is denied her one late-in-a-short-life chance of true love. Roaring 20s Of course, {…}
(Photo: Yasuko Kageyama-Teatro dell’Opera di Rome) Sergei Prokofiev finished his opera, “The Fiery Angel” in late 1927, and missed the deadline for its inclusion in the Stadtische Oper, Berlin’s 1927-28 season, leading to the cancelation of the contract. An abridged concert performance was given in 1928 in Paris, but Prokofiev was disappointed by its critical reception. Although there was tentative {…}
Los Angeles’s new company Numi Opera launched on Thursday night May 30, putting on their first production at Downtown’s “Spanish Gothic” Ace Theatre, the former 1927 United Artists’ picture palace. Dedicated to producing rare, even “oppressed,” works, Numi Opera is devoting their first season to producing operas by composers banned by Hitler. The Polish family of Numi’s founder Gail R. {…}
“As One” has become one of the major works of American opera in the 21st century. The work has been the most produced new opera in North America since its debut in September of 2014 and its revival by the New York City Opera this summer bears out why. The work, created by composer Laura Kaminsky and librettist Mark Campbell {…}
As the summer inches closer, lovers of opera and the performing arts can enjoy a number of smaller, independent productions throughout New York City. Naturally, one would not expect to see an opera singer delivering arias from on top of a piano in the middle of Washington Square Park, but that’s exactly what happens with Opera Under the Arch. The {…}
“I strive to bring out the best in myself, but I also know that perfection does not exist. And to be honest: I don’t care. Neither in myself nor in others. In my eyes, perfectionism is an unhealthy and cramped urge. Because you cannot force perfection. Compare it to lying in the water. Whoever relaxes, who dares to surrender, stays {…}
An opera in which death is the finite indulgence, Giordano’s “Andrea Chénier” is the antithesis of its verismo siblings – glorifying suicidal sacrifice rather than sketching it in lachrymose laments of mourning and self-pity. With its tenacious celebration of strength in the face of unvanquishable, ruthless adversity, it rivals “Tristan and Isolde” in its heroes’ unabashed, iron will to die; {…}
This review covers two performances of “Tosca” at Opera de Paris — on 16th and 19th of May 2019. Jonas Kaufmann canceled his first three performances of Tosca in Paris. The audience was shocked. “Kaufmann cancels again!” “We were waiting for it for the whole season!” “We bought tickets in October!” “We were traveling to Paris just to see him!” The {…}
A few facts you need to know before reading this review: Russian opera is something extremely different. Such operas are just perfect for diversifying a repertoire of any European or American opera house. The main reason you might not like Russian opera is an incorrect performance. You need to be a Russian native to understand if it sounds correct. You {…}