Don't miss: No Place Like Home

Interview

"And to have a home, it's also important to have a place that is not-home - which is easy enough to define if you only feel at home in one place, but much more difficult when, say, you fly across the world and feel like you understand the heartbeat of a totally foreign city. That feeling isn't home-as-a-place, that feeling is home-as-a-mental-state."

Audra McDonald and the Art of Perfection

Review

She let us know that she considers herself "a champion of new composers." "That way," she told us, maybe only half-joking, "I'll still have a job in the future." She reminded us that Jason Robert Brown was once a "new composer" and proffered his "Stars and Moon" which has become one of her signature songs.

Love Potion Number Nein

Review

Mr. Mitisek and Long Beach Opera have built their world-renowned reputations on new works and the discovery of neglected treasures from the past. Mr. Martin's 1942 opera does not fit into either category.

Dressing opera singers: chatting with costume designer Meriem Bahri

Interview

For years, she pushed her love of fashion and drawing to the side until, while studying in Lille, she happened to meet the couturiere designing and building costumes for her local amateur dance troupe. The couturiere showed Bahri how to use a sewing machine and she was hooked.

Verdi's tragedy in jest

Review

To protect his daughter from the Duke (and his entourage of like-minded cruel courtiers), Rigoletto hides her from the real world. She isn't allowed to venture outside, except to go to church. And that's where the Duke spies her and decides he must have her. There is an abundance of well-placed irony throughout the drama.

Ravishing Orphic Moments with Gluck, Aucoin & Costanzo

Review

The work has finally reached a larger New York audience with two performances in an elegantly expanded version at Lincoln Center's Rose Theater. It features the 130-member MasterVoices and the Orchestra of St. Luke's. Smartly directed by Zack Winokur, the production has a sleek and courtly feel, enhance by Stacey Berman's stylish costumes.

5 Frankenstein-themed shorts leave you wanting more

Review

In spite of the fact that it's hard to tell a story in twenty minutes, I walked away from this exciting evening hungry for more short bonbons of opera. I was grateful for the theme of the evening, which the creative teams either ran with or ran away from.

Thaïs: dazzling score, dazzling set, dazzling cast

Review

I have liked every production in the Minnesota Opera this year, but after this one, I felt that the creative team had been holding out on us. Thaïs blew the rest of the season out of the water. The lighting (Marcus Dilliard), sets and costumes (Lorenzo Cutuli) were perfect. The creative team came out and took a bow, and they certainly deserved it.

Talking with singers: Hailey Clark

Interview

"The sooner you can define who you are and what you do best, the easier it is for people to identify and understand your "brand." This is an artistic field, of course, but it's also a business, and in order for companies to sell tickets and keep the art form alive, it's important for them to know the three-dimensional artist that they’re hiring and trusting to tell their story."

Profound, moving Bernstein double-bill

Review

As it turns out: with some very intelligent staging and committed performances from the cast, the tale of Sam and Dinah's dysfunctional marriage became the perfect backdrop for Arias. Thus, it became the kind of thought-provoking evening that I think Bernstein always strived for but never seemed to get through his music.