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Reviews, Stage Reviews

Seattle Opera 2019-20 Review: Eugene Onegin

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(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 {…}

Reviews, Stage Reviews

Metropolitan Opera 2019-20 Review: La Traviata

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(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 {…}

Reviews, Stage Reviews

Houston Grand Opera 2019-20 Review: El Milagro del Recuerdo

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In December Houston Grand Opera gave the world premiere of Javier Martínez and Leonard Foglia’s new opera “El Milagro del Recuerdo (The Miracle of Remembering).” The opera was billed as a “mariachi opera” and only the third of its kind ever produced by a professional opera company. While “El Milagro” certainly features mariachi music and singing, the work was much {…}

News, Reviews, Stage Reviews

Metropolitan Opera 2019-20 Review: The Magic Flute

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On Dec. 15, 2019, The Metropolitan Opera raised the curtain on this season’s run of Mozart’s “The Magic Flute.” Julie Taymor’s family-friendly production continues to be a visual and musical delight that, while abridged, makes for a strong concentration of the work. Under the baton of Lothar Koenigs, Sunday’s cast of artists was comprised of a fine mix of new {…}

News

Staatsoper Berlin 2019-20 Review: Dido and Aeneas

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(For Performance Dates: Nov. 3 and Nov. 10, 2019) As the third opera of its second annual Baroque festival, the Staatsoper Berlin revived Sasha Waltz’s choreographic production of “Dido and Aeneas.” Though the production dates from 2005, each performance of the current run has sold out well in advance—a rarity in Berlin, where three excellent opera houses compete for audiences {…}

Reviews, Stage Reviews

Staatsoper Berlin 2019-20 Review: Die Lustigen Weiber von Windsor

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(Credit: Monika Ritterhaus) “Die lustigen Weiber von Windsor,” like the vast majority of Singspiele, is not well-known outside the German-speaking world. Even in its native Germany, it’s mounted infrequently. Its story, however, is almost universally known. Like Verdi’s “Falstaff,” it’s closely based on Shakespeare’s “Merry Wives of Windsor.” A few details are Germanized: Alice Ford becomes Frau Fluth, and her {…}

Reviews, Stage Reviews

Deutsche Oper Berlin 2019-20 Review: Nabucco

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(Credit: Bernd Uhlig) The Deutsche Oper Berlin’s current “Nabucco” is a production by Keith Warner, first presented in 2013. It’s not an unconventional production, at least by Berlin standards. Where Berlin opera is often characterized by the most provocative nontraditional productions—Frank Castorf’s recent “Forza” premiere, for instance, provoked a near-riot among its Deutsche Oper audiences—Warner’s “Nabucco,” by contrast, feels tame. {…}

Reviews, Stage Reviews

Manhattan School of Music Senior Opera Theater 2018-19 Review: Albert Herring

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Saturday, April 13, 2019 saw the second performance of the Manhattan School of Music’s production of the Springtime favorite, “Albert Herring.” With the production running for three nights, each night featured a different cast, comprised of students from the school’s Senior Opera Theater, headed by conductor Jorge Parodi and director Dona D. Vaughn. This effervescent work, composed by Benjamin Britten, {…}