Elina Garanca has steadily been moving to the dramatic mezzo-soprano repertoire as her career has developed. In this new solo album, the mezzo-soprano showcases what audiences will hopefully see in the future. “Revive,” the title Garanca has chosen for her album, is a mix of many popular tunes from the mezzo repertoire and some rarely heard. The result is an {…}
This review is for the final performance of the run on Dec. 18, 2017 and was written in collaboration with Francisco Salazar. How do you get younger audiences to engage with that “old” and “outdated” art form known as opera? That is the eternal question for the major opera houses around the world as they look to find a viable {…}
This review is for the performance on Friday, Dec. 16, 2016. Verdi’s famed overture for his first masterwork “Nabucco” starts off with a few brass calls followed by a massive explosion of sound a few bars later. From there Verdi’s music traverses the contrast between a glorious melody clamoring for peace and one of military drive. It is this contrast between {…}
This article relates to the performance of “L’Amour de Loin” at the Metropolitan Opera on Dec. 14, 2016. There was a light show on the stage of the Metropolitan Opera House on Wednesday evening in the company’s performance of Kaija Saariaho’s “L’Amour De Loin,” though a sudden moment of darkness threatened to be the most impactful moment of the entire {…}
For any artist making his or her first solo album is a daunting task. Aside from the technical challenges of going into a studio and repeatedly re-recording tracks that will be spliced together in a manner far different from the spontaneity of live performance, but the repertoire selection can be a point of contention. It would not be surprising to {…}
Over the course of two uninterrupted hours, Strauss’ “Salome” must develop from a clueless ingénue to a passionate seductress that eventually ends up a murderous, lustful lunatic. It is the dream role for any actress, but also one that demands a grade-A star to dispatch all of its nuance and intense passions. Patricia Racette was not supposed to be the {…}
When Puccini set out to write his “Manon Lescaut,” the composer drew attention to his “feeling it like an Italian, with a desperate passion.” Though the comment came in the context of his comparing it with Massenet’s own interpretation of the work, that idea of desperation has certainly played into numerous readings of the work. A look at the catalogue {…}
