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Reviews, Stage Reviews

Lithuanian National Opera 2018–19 Review: Turandot

https://operawire.com/lithuanian-national-opera-2018-19-review-turandot/

The most important thing in the opera, according to Robert Wilson, is the last second. And this sounds really convincing. But is this enough? Is the last second enough to win the audience’s hearts when you’re about to present your new and very distinctive production of Puccini’s classic at an opera house that is not as advanced, as it happened {…}
Reviews, Stage Reviews

Metropolitan Opera 2018-19 Review: Adriana Lecouvreur, Jennifer Rowley Edition

https://operawire.com/metropolitan-opera-2018-19-review-adriana-lecouvreur-jennifer-rowley-edition/

The Metropolitan Opera completed its run of “Adriana Lecouvreur” on Saturday, Jan. 26, 2019. This opera had already been experienced and reviewed by OperaWire earlier in the run, but the high quality of this showcase was so great, that it felt worthwhile to check it out again, albeit with a major casting switch. Stronger Than Ever Those who had appeared {…}
Reviews, Stage Reviews

New York City Opera 2018-19 Review: Dear Erich

https://operawire.com/new-york-city-opera-2018-19-review-dear-erich/

On Jan. 9, 2019, the New York City Opera proudly presented the 35th world premiere in the company’s history, Ted and Lesley Rosenthal’s “Dear Erich,” at the National Yiddish Theatre Folksbiene at the Museum of Jewish Heritage. The jazz opera tells the story of Erich, a young man who emigrates the United States right as Hitler rises to power in {…}
Reviews, Stage Reviews

Manhattan School of Music 2018-19 Review: `I Due Timidi´& `Suor Angelica´

https://operawire.com/manhattan-school-of-music-2018-19-review-i-due-timidi-suor-angelica/

The Manhattan School of Music (MSM) showcased two one-act operas this past fall in its newly renovated Neidorff-Karpati Hall that set the bar high for an exciting season ahead. First Up, Rota The first opera, Nino Rota’s “I Due Timidi” was the perfect choice of scenery to have on display for the new stage. Scenic Designer Lee Savage showcased an {…}
Interviews, Stage Spotlight

Interview: Tenor Stephen Costello’s Debut Double-Header

https://operawire.com/tenor-stephen-costellos-debut-double-header/

What’s a nice guy like the 2009 Richard Tucker Award-winner Stephen Costello to do when playing a character known for anger issues and a jealous streak a mile wide? Go for sympathy, make the audience empathize with “a lost person with a good heart.” That’s what Costello did for his role debut as Don José in the Dallas Opera production {…}
Reviews, Stage Reviews

Opéra de Lille 2018-19 Review: Rodelinda

https://operawire.com/opera-de-lille-2018-19-review-rodelinda/

Even by usual standards of patently implausible baroque opera plots, “Rodelinda” reaches new heights of Delphic abstruseness. William Hartston in the London Express described Handel’s 19th opera as “everyone wanting to marry or kill everyone else.” Regardless of Hartston’s hyperbole, confusion certainly abounds. A Penelope-esque wife erroneously thinks her husband is dead not once, but twice. The two principal protagonists {…}
Reviews, Stage Reviews

Hungarian State Opera 2018 Tour Review: Mario and the Magician & Bluebeard’s Castle

https://operawire.com/hungarian-state-opera-2018-tour-review-mario-and-the-magician-bluebeards-castle/

As the Hungarian State Opera continues its New York tour at Lincoln Center, the second night saw a double feature of performances from Hungarian composers: “Mario and the Magician” by Janos Vajda, and “Bluebeard’s Castle” by  Bela Bartok. What followed was an enthralling showcase of the talents of the company, wherein the artists powerfully brought to life the methods, and {…}

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