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Reviews, Stage Reviews

Teatro Comunale di Bologna 2018 Review: Don Giovanni

https://operawire.com/teatro-comunale-di-bologna-2018-19-review-don-giovanni/

No one can complain that Jean-Francois Sivadier, the director for Bologna Teatro Comunale’s production of “Don Giovanni,” failed to think carefully about the the work’s underlying themes, its dramatic drivers and the construction of its characters, in fact, the problem was the exact opposite. His program notes teem with observations and ideas; in one short paragraph alone, there is enough {…}

On This Day, Special Features

Ranking Giacomo Puccini’s Operas From Least to Best

https://operawire.com/ranking-giacomo-puccinis-operas-from-least-to-best/

Giacomo Puccini lived during the age of Verismo, but he couldn’t easily be pinned down to said opera genre. In fact, much like Verdi before him, he was far greater because he defies categorization. Puccini’s works strive for the same exoticism that we find in composers that preceded him and like Verdi’s forays into “Ancient Egypt” or Rossini’s into Algiers {…}

Behind the Scenes, Interviews

Q & A: Pacific Opera Project’s Artistic Director Josh Shaw On Reaching New Audiences With A ‘Pop’ Aesthetic

https://operawire.com/q-a-pacific-opera-projects-artistic-director-john-shaw-on-reaching-new-audiences-with-a-pop-aesthetic/

POP, the acronym for Los Angeles’ youthful Pacific Opera Project has a number of meanings. It can stand for Pop-up Theater (Pacific Opera Project’s productions can take place in a variety of venues and even at short notice). It can also mean “popular” (POP makes opera accessible for audiences whose principle interest might simply be an affordable night out). Over {…}

Reviews, Stage Reviews

Teatro Verdi Trieste 2018-19 Review: I Puritani

https://operawire.com/teatro-verdi-trieste-2018-19-review-i-puritani/

Possibly one of the most difficult tasks given to a director is that of producing an opera by Bellini. His works contain some of the most sensuously beguiling music written for the stage, his long arching melodies are entrancing and emotionally captivating. There is no doubt that the opportunities for singers to display the beauty and dexterity of their voices are {…}

Interviews, Stage Spotlight

Q & A: Lisette Oropesa On Building Her Career & a Triumphant 2018

https://operawire.com/q-a-lisette-oropesa-on-building-her-career-a-triumphant-2018/

It’s a Lisette Oropesa kind of Year! After her huge success in the title role of “Lucia di Lammermoor” at the Teatro Real, she made headlines in Pesaro, Italy making her role debut in the title role of “Adina” at the Rossini Opera Festival. Then she went to Paris for two successful runs. First, she stepped in for a new {…}

Reviews, Stage Reviews

Royal Opera House 2018-19 Review: Simon Boccanegra

https://operawire.com/royal-opera-house-2018-19-review-simon-boccanegra/

Suspension of disbelief is crucial in the opera-going world – its characters being frequently endowed with childlike minds that have no sense of time or fear of consequence. With its apparently ageless characters and scarcely tenable premise, Verdi’s tale of “Simon Boccanegra” – the 14th century’s first Doge of Genoa – has few laurels on which it can rest. Encompassing {…}

Reviews, Stage Reviews

Metropolitan Opera 2018-19 Review: Tosca

https://operawire.com/metropolitan-opera-2018-19-review-tosca/

Puccini’s “Tosca” received its 966th performance at the Metropolitan Opera on Thursday, Oct. 25. The work featured the second revival of David McVicar’s production from last season, with some unique distinctions. As noted in last year’s review of this production, this version of the work’s success will live or die based on whether the performers bring a strong perspective to {…}

Special Features

Analysis: 2018 Leyla Gencer Voice Competition Istanbul

https://operawire.com/analysis-2018-leyla-gencer-voice-competition-istanbul/

Opera aficionados d’un certain âge remember Leyla Gencer with almost idolatrous admiration and no small degree of reverence. With the passing of time, most younger devotees of the lyric theatre have about as much knowledge of “La Diva Turca” as they do Maria Reining or Toti dal Monte. Born Ayshe Leyla Ceyrekgil in Istanbul sometime between 1918-1928, Gencer enjoyed a {…}