San Francisco Opera 2017-18 Review – Turandot: Exquisite Nina Stemme, Leah Crocetto, Brian Jagde Lead Socially Relevant Interpretation of Puccini Masterwork

To wait for one whole act, plus a quarter of a second, just to glimpse the heroine, let alone hear her, is practically a crime. Especially, with all the talk. From the moment the curtain rises, what do we hear? Turandot, Turandot, Turandot. And so, where is she? On and on, troops of “the people” – boy chorus, various authorities {…}

New Orleans Opera 2017-18 Review – Orpheus in the Underworld: Laughs Aplenty in Offenbach’s Satire That Spares Nobody

It’s always a welcome sight when companies stage works that are underappreciated and lesser known. It’s also risky because such unfamiliarity can result in smaller audiences who would be more willing to come out for works that are more recognizable. With that in mind, it was admirable for New Orleans Opera to present Jacques Offenbach’s “Orpheus in the Underworld” last {…}

Opéra de Montreal 2017-18 Review – La Cenerentola: Solid Cast Creates Memorable Experience With Rossini Masterpiece

I will kick off this review by noting that it was the first time I had ever seen “Cenerentola” and I was charmed.  It was a magical evening, with great music, excellent singing and loads of comedy and stage business. It began with a fine rendering of the overture by the Orchestre Metropolitan conducted by the Spanish conductor Jose Miguel Perez-Sierra. {…}

Metropolitan Opera 2017-18 Review – Thaïs: Ailyn Pérez & Gerald Finley Must Be Heard In Gorgeous Revival of Massenet Masterpiece

“The voice must be heard.” For the last two years, this has been the calling card for the Metropolitan Opera’s marketing department, a call to just come and listen to opera as it is intended to be. An invitation to experience something that can’t be experienced anywhere. For many, that tagline has been particularly emblematic of the vocal wizardry that {…}