PBO does overdue justice to Don Giovanni

Review

In her program note, McIntyre wrote that Don Giovanni is an opera "replete with grey areas, starting with Giovanni's own moral ambiguity." But in reality, the libretto couldn't be clearer, from the violent rape in the very opening scene to his refusal to repent in the grim finale.

Inventive and playful: The Monstrous Child

Review

It was very much a young person's opera and was therefore theatrical in a way that is rarely seen in large scale opera productions. Though it is meant for a younger crowd, it wasn't overly simplified or polite. It was gritty, honest, and unapologetic.

Baroque novelty from Opera Atelier: The Angel Speaks

Review

If anyone doubted the longevity of Opera Atelier's plans to commission new works, they've been quick to prove themselves. It makes me more curious to hear their mainstage season, knowing that the company has more than one baroque trick up their sleeve.

Small company, big laughs: Opera Fusion's Don Pasquale

Review

Accompanied by a chamber orchestra seated on stage, the show had all the grand, theatrical trappings of opera, sized down into a portable, affordable package.

Left wanting more: La traviata in Chicago

Review

Director Arin Arbus returns to re-mount her production of La traviata from LOC's 2013-14 season. Conductor Michael Christie, making his own LOC debut with this run, brings his expertise in new music to bear on this classic score, leading the LOC orchestra with urgency and dramatic sensitivity.

A delight for the senses: La traviata in Victoria

Review

The POV chorus deserves a huge shoutout for this production, the chorus numbers were incredibly precise, blended perfectly, and the choreography in the large number of dance routines they were given was brilliant.

Bel Canto Barbie & other gems: Opera Omaha's Elixir of Love

Review

While The Elixir of Love is a comedic masterpiece, Donizetti's music ranges from brilliant and bubbly to languid and lush. The orchestra, led by David Agler, showcased this mercurial ambiance with clarity and nuance.

Tweaking the Brothers Grimm in Oper Frankfurt's Hänsel und Gretel

Review

The schtick tightened up during the second half and the story leavened. The actors seemed to relax into their characters' inner lives once their outer circumstances had a discernible logic. Liberated from conceptual mumbo jumbo, the score and libretto timed better with the on-stage action. Finally, things made sense.

Chemistry sizzles onstage in Paride ed Elena

Review

Their voices pulled and pushed at Gluck’s music and Calzabigi's text, stretching and pulling and coloring every last note that made practically their entire run through the opera feel important.

Don't miss: The Monstrous Child

Interview

Though still young, Higgins is a seasoned composer; and though there are learning curves to writing for the voice, he wisely keeps his eyes on the final product: an opera for families.