San Diego Opera's 60th Anniversary La bohème sees Mimì as a ghost
Sharing the burden: dwb (driving while black)
ReviewWhite audience members were challenged to confront the discomfort brought on by the opera and the discussion, to sit with the trauma as black individuals must each and every day.
Dark romance & psychological horror in Des Moines Metro Opera's Bluebeard
ReviewDes Moines Metro Opera's cutting edge production of Bluebeard's Castle breathed new life into an underrated opera, blending the digital and traditional in a seamless immersive display.
Des Moines Metro Opera offers musically triumphant Carmen
ReviewCarmen is an audience favorite for a reason, so why change what already works? The historical setting is familiar and expected, but the themes of this passionate tale still hit hard.
Highway 1, U.S.A and Down in the Valley: Unearthing Americana
ReviewThe relationship between Bob, Mary and Nate is completely convincing thanks to the outstanding performances of Mr. McNichols Jr., Ms. Crump and Mr. Morgans, respectively. Their voices are ascendant; they master both the height and width necessary for composer Still's score.
Pretty poison: Lucrezia Borgia at New Amsterdam Opera
ReviewNew Amsterdam presents works in a concert-style, with performers at music stands, and the only staging is the exits and entrances of principals who are in each scene. This leaves them free to invest donors' dollars in the music and that certainly pays dividends to the audience.
Vancouver Opera sails away in The Flying Dutchman
ReviewDahl's portrayal is filled to the brim with tension and menace. He never truly believes that he will be free from his curse, and his torment is relentless, which helps carry the tension of the entire show. Vocally, Dahl for formidable and dark, bringing a vocal power that lent authority to his character's plight.
North Shore's genderbent panto Iolanthe
ReviewThis production, under the direction of up-and-coming stage director Robin Hahn, is a refreshing departure from the 'prim British Aristocrats meet dainty fairies' that you would expect. Instead, this production has drag fairy queens, gender-bent High Chancellors and Lords, queer romance, and fairy selfies.
Bright, frothy fun in BOC L'elisir d'amore
ReviewUnmemorable tunes, a certain lack of dramatic forethought, and far too prolific for his own good, I can really only enjoy Donizetti in small bursts.
Quinn Kelsey's Macbeth: a haunted, manipulated husk of a man
ReviewTo say the singing was excellent is an understatement. The line was solid through the whole range and completely unfazed by whatever physicality Kelsey took on. He managed the dramatic journey with great finesse as well. Macbeth, although a noble, and later a King - he's somewhat content to be in his position.
Roland Wood delivers terribly good Scarpia in COC's Tosca
ReviewYour skin crawled when he spoke to Tosca. You wanted to cheer when his carcass hit the floor in his office. Yet, besides all of this, it has to be well-sung. Wood's handling of the Baron's music was excellent. His tone evenly matched throughout his range, and a fantastic use of his dynamic colour palette to really dig into the darkness of Scarpia.