(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 {…}
(Credit: Royal Opera House /Tristram Kenton) This review is for the performance on Jan. 10, 2020. Alongside with Richard Eyre’s classic production of “La Traviata,” Richard Jones’ “La bohème” is an important weapon in the Royal Opera’s commercial arsenal, and will therefore be making 16 appearances this year, with myriad casts and three conductors. This is its second revival since {…}
(Credit: Paula Lobo) The MetLiveArts program featured “Ute Lemper: Weimar Holiday” at The Grace Rainey Rogers Auditorium as part of a special Holiday series. Lemper performed story-telling music by Bertolt Brecht, Kurt Weil, Friedrich Hollaender, Mischa Spoliansky, Marcellus Schiffer, Shmerke Kaczerginski and Alexander Tamir. The evening highlighted an enlightening and progressive time in Germany’s music history which cultivated the awareness {…}
(Credit: Marty Sohl/ Metropolitan Opera) On Jan. 10, 2020 Verdi’s “La Traviata” returned to the stage in Michael Mayer’s production. It was the first revival of the production which scored a divisive reaction from the critics and the audience last season when it premiered. For this revival the Met brought superstar Aleksandra Kurzak, who was taking on the role of {…}