Lyric Opera Of Chicago 2016-17 Review – ‘Carmen:’ Dramatic Depth & Power Is Lacking Despite Vocal Finesse Throughout the Cast

izet’sThis review is in reference to the performance on Friday, March 3, 2017. With Bizet’s ever-famous score full of ear tingling music, catchy tunes, and drama-packed scenes, an evening of Carmen is a guaranteed great night at the opera, making this the perfect way for first-timers to first dip their toes into the operatic repertory. The Leads Lyric Opera’s production {…}

Mar 5, 2017

Metropolitan Opera 2016-17 Review – La Traviata: Sonya Yoncheva Strong Vocally But Dramatically Amiss in Surprisingly Unfulfilling Rendition of Willy Decker’s Masterpiece Production

I preface this by stating that this review is for the performance on March 5, 2017. I would also like to recognize that this is just one performance of a seven-performance run. In an ideal situation, I would attend every performance and write a detailed review of the overall work. As it stands, I can only go on my perspective {…}

Feb 21, 2017

Metropolitan Opera 2016-17 Review – Werther: Brilliant Grigolo, Leonard & Powerful ‘Werther’ Production Will Leave You Emotionally Enriched & Exhausted

This review is for the performance on Feb. 20, 2017. Taking in the experience of Massenet’s “Werther” is a rather fascinating one. Not because the music is without a doubt the composer’s finest creation or because the Metropolitan Opera’s production is a dramatic home run (more on that later). It has to do with audience interaction and engagement. Who would {…}

Feb 18, 2017

Metropolitan Opera 2016-17 Review – Rusalka: Mary Zimmerman, Kristine Opolais & Company Take Us On Dramatically Rich Journey To Find Operatic Identity

We acknowledge that OperaWire is late to the “Rusalka” party, but here is our review for the performance on Feb. 17, 2017, the fifth performance of this run. Antonín Dvorák’s “Rusalka” is the epitome of a metaphorical operatic identity crisis. The opera, which is a grim version of Hans Christian Andersen’s “The Little Mermaid,” follows the story of a water {…}

Feb 11, 2017

Metropolitan Opera Review 2016-17 – I Puritani: Diana Damrau, Javier Camarena & Co. Deliver Golden Age Singing

This review is for the performance on Feb. 11, 2017. What happens when the Metropolitan Opera casts four superstars into Bellini’s final opera? The answer is golden age singing. For years “I Puritani” has been a vehicle at the Metropolitan Opera to promote the diva and sometimes has made casting uneven with little attention paid to who can sing the incredibly {…}

Feb 7, 2017

Metropolitan Opera Review 2016-17 – Carmen: Clémentine Margaine & Company Are Dramatically Fulfilling in Bizet’s Masterpiece

This review is for the performance on Friday, Feb. 3, 2017. When Sophie Koch cancelled all of her performances for Bizet’s “Carmen” at the Metropolitan Opera, attention immediately turned toward Clémentine Margaine, who was set to make her Met debut on Feb. 3. Instead the French mezzo saw her first performance at the history house pushed up two weeks. Of {…}

Jan 14, 2017

New York City Opera 2016-17 Review – Candide: The Best of All Possible Sopranos Leads a Bountiful Comedic Garden

The best of all possible outcomes for any opera is a strong cast and a great production for a great work. In this context, the New York City Opera can certainly check off the box next to “success” with regards to its new “Candide.” Directed by Harold Prince, the revival of Leonard Bernstein’s comic operetta, which is based on Voltaire’s {…}

Jan 12, 2017

Metropolitan Opera 2016-17 Review – La Bohème: This Is No Routine Production As Fabiano, Pérez & Co. Deliver Vivacity to Powerful Tragedy

This review is for the performance on Wednesday January 11 and is written jointly by David & Francisco Salazar. Applause rang from every corner of the Metropolitan Opera, the audience awaiting the final performer to step onstage so that she too could get her accolades. The moment Ailyn Pérez walked out of the iconic golden curtain, she was not only {…}

Jan 10, 2017

Metropolitan Opera Review 2016-17 – Il Barbiere di Sivilgia: You Will Have Fun Seeing Camarena, Yende, Mattei & This Refreshing Cast

This review is for the performance on Monday Jan. 10, 2017. Rossini’s “Il Barbiere di Siviglia” is one of the most famous works in the operatic repertoire as well as one of the funniest. It contains some of the most memorable melodies and space for singers to fool around and provide vocal fireworks. In recent years, the Metropolitan Opera has {…}

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