Futuristic Baroque burlesque: Orphée

Futuristic Baroque burlesque: Orphée

Undoubtedly, the standout performance of the show goes to the remarkable Company XIV. These six dancers, in some of the most exquisite costuming I've ever seen, moved throughout the show functioning much in the way a Greek chorus would. Their physicality representing the off-stage chorus as well as the virtual one compiled by singers from around the world submitting recordings of themselves.

Greg Finney - Apr 27, 2018
Uncomfortable premieres: The Mother

Uncomfortable premieres: The Mother

I would place Merz and Osborn's opera somewhere in the middle of absurdist and literalist. They attempt to explore the psychological relationship of mother and son through repetitive material and an assertive musical language.

John Beckett - Apr 27, 2018
Beloved Bernstein: HGO's West Side Story

Beloved Bernstein: HGO's West Side Story

HGO hit the nail on the head in making West Side Story come across as a highly successful play with songs, with Jerome Robbins's choreography being by far the lead attraction of the evening in terms of its sheer power of unspoken expression.

Andrew Schneider - Apr 25, 2018
Candide: projecting the best of all possible worlds

Candide: projecting the best of all possible worlds

There is the vexing notion that Bernstein was his own Dr. Pangloss, coaxing himself out of Westphalia into a musical and theatrical breach. If divine providence finally lights the way, it is energized more by the rigorous tug of theatrical absurdity and naive optimism, than Voltaire's satirical bite.

John Hohmann - Apr 24, 2018
Sweeney Todd: Demon of Disguise

Sweeney Todd: Demon of Disguise

Audiences have been flocking to the Barrow Street Theater, which has been converted into a 135-seat pie shop, for over a year. The producers have the delicious cheek to sell meat pies, by reservation only, prior to each performance. They will be serving up those pies well into the summer.

John Hohmann - Apr 24, 2018
The voice teacher series: Betsy Bishop

The voice teacher series: Betsy Bishop

"My singers, being older, have a different need for honesty. I don't think it is ethical for me to pronounce judgement on their potential, but I do think I should point out difficulties that might put a career out of reach for them."

Jenna Simeonov - Apr 24, 2018
"Requiem for a Lost Girl is based on a true story."

"Requiem for a Lost Girl is based on a true story."

"The tragedy of her death and stigma that surrounded it is still with me. This experience is how I found my way into the themes of this piece."

Jenna Simeonov - Apr 23, 2018
Distractions & indifference: Opera Omaha's Medea

Distractions & indifference: Opera Omaha's Medea

Cherubini's music suggests that Medea is going out in a blaze of remorseless glory, but nothing manifested in the staging to support this. I wanted to either hate Medea or cheer her on, but I was left feeling indifferent and unsatisfied.

Meghan Klinkenborg - Apr 23, 2018
Pacific Opera Victoria's steampunk-meets-fantasy Rinaldo

Pacific Opera Victoria's steampunk-meets-fantasy Rinaldo

As they fall asleep, the magical characters of Rinaldo are transported into their living room to enact the story to the children's delight. It's one part steampunk, one part fantasy movie, one part 50s B-movie, and 100% delightful.

Melissa Ratcliff - Apr 22, 2018
Braid "brilliant" in Tosca role debut

Braid "brilliant" in Tosca role debut

Her performance was made more exquisite by the fact she sang the whole aria on the floor, often in positions that would make most voice teachers and coaches cringe. And yet, her sound never suffered, maintaining her presence well above the swell of the orchestra, in nothing short of a world-class performance.

Oliver Munar - Apr 21, 2018

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