Never black & white: Abduction at the COC

Review

It was a decidedly more positive portrayal of the "Mohameddans" as they're called in a new prologue by Mouawad. However, we are sort of expected to gloss over the fact that Bassa Selim is involved in the slave trade (he hands Blonde off to Osmin as property) and reward him for being "kind" to Konstanze and Blonde - meaning he didn't imprison them or send them to the kitchens, but to the bedrooms.

Cycles of My Being: "This is their story."

Interview

"I hope that people will show a great appreciation for the work of this young composer, the work of the lyricist, and the work of the other musicians on stage, but also our commitment to telling this story. I hope it gives a new perspective, and really allows people to see into the psyche and mindset of a young educated black man in America."

Heavenly voice visits the City of Angels

Review

The night ended with a nod to Leonard Bernstein's 100th Birthday - "Somewhere" from West Side Story. The lyrics "There's a place for us - somewhere a place for us…" she dedicated to the DACA Dreamers, and the evening ended with many in tears and everyone on their feet for several standing ovations.

Androgyny is sexy: Carmen at ROH

Review

In Barrie Kosky's new production for the Royal Opera that had its premiere in 2016 at Oper Frankfurt, there is no time period, nor geographical location. The sultry voice of Claude de Demo narrates the story and sets the scene in between musical numbers, in lieu of spoken dialogue or recitative. All this being said, the entire evening was thrilling and unforgettable for all the right reasons.

Help wanted: Els Comediants bring Barber to Houston

Review

At any rate, the production focuses on the perennial problem of "finding good help these days;" do the servants really care about their employers' tribulations? Is it any wonder that Bartolo's (Peixin Chen) house is falling apart? Indeed, the Houston Grand Opera Chorus were skilled at portraying a motley group of musicians who just need to keep their voices down once in a while, lest they attract the attention of the bayonet-armed, plume-graced Seville gendarmes.

Grime sees debut at Wigmore Hall

Interview

"It is wonderful to me that Helen Grime, such a phenomenal, fearless composer and also a mother, should take these poems from the book and give them a new embodiment in her song cycle," says Benson.

The singing reigns in Chicago's I Puritani

Review

While no tenor on earth welcomes comparisons to the undisputed "King of High C's," Brownlee is a triumph in this role and it's not just the singing — Brownlee is a physically-engaged actor, throwing off coloratura while crawling between set pieces and even dashing through the auditorium during a chase scene. And yes, he does take the high F (the F above tenor high C) in the final act's "Credeasi misera."

Ciekiewicz "triumphant" in Calgary Opera's Onegin

Review

Addis carries himself with poise and swagger that underscore his character's coldness. But in the third act, Addis unleashes a full range of his acting and vocal ability when his character finally recognizes his love for Tatyana. His vibrant voice is pierced with desperation as he pleads with Tatyana, who refuses to act on her feelings for him.

Great music & distracting sexuality: Rigoletto

Review

We find ourselves in the domain of the Duke. He exerts his power over the masses through his manipulation of Rigoletto's remarkable skill for what is now popularly known as "reading" people.

Don't miss Tap:Ex Forbidden: "We are tough and resilient."

Interview

"As a female composer with a Persian background, I have the privilege to be able to see the performance of my opera. It brings tears to my eyes, knowing many Iranian music masters who have written great operas that are forbidden to be performed on stage. Having this privilege, it is my responsibility to create."