Heartbeat Opera: Dial Lady M for Murder

Review

Even if you are producing the original Verdi version of Macbeth, you better have a great 'Lady M.' Here with the story focusing on that character, the singer must be equally unimpeachable. Enter Ms. Algozzini, a diminutive Italian soprano who blasts us backwards with her extraordinary vocal cannon.

NYOANext!: The sound of (opera) music in the Bronx

Review

Seven opera companies from NYOA's fifty company membership, performed arias and duets from familiar operas and from some upcoming productions which are part of the NYOANext! Festival.

Tosca at Heartbeat Opera: art to the point of distraction

Review

Shadi G can only get to her concept by imposing an element which proves to be downright distracting. She has added to the cast two non-singing members of "the secret police" who are ominously watching the proceedings and who even try, on several occasions, to arrest members of the cast.

Brilliant: a compassionate Bluebeard and a comforting Castle

Review

Finley's Bluebeard is caring, soft-spoken, and deliberately gentle. The scene opens in silence with him preparing to bring Judith home. He's so excited to see her, he kisses her photo and practically skips out the door.

Of The Sea: a beautiful, overdue story that lingers

Review

There are some shows that never leave you whether performing in them or experiencing them. Of The Sea is one of those. Not just musically and visually. This piece made an impact.

Bluebeard’s music shines, with Alma’s highlights

Review

The last of the four songs is actually quite dark in a way that fits the quizzically gothic ending of Bluebeard's Castle pretty perfectly, so it ended up forming an arc that actually did somehow add to one of opera's most perfect endings.

A Triumph for Tosca at the Adrienne Arsht Center

Review

Toni Marie Palmertree, who portrayed Floria Tosca, delivered a truly remarkable performance. Her voice was powerful, clear, and expressive, capturing the complex emotions of the character with ease. Palmertree's acting was equally impressive, embodying Tosca's fiery temperament and vulnerabilities masterfully.

Il trittico: slices of Puccini

Review

To this reviewer, Il Tabarro most certainly sounds like a Puccini opera – right from the opening chords which become a recurring motif – and there are several stand-alone solos that aren’t as famous as those from his other operas, but in the hands (or throat) of the right performer they can stop the show.

A Midsummer’s Night in Mid-winter Vancouver

Review

An absolute show-stealer, and it was obvious the performers were having as much fun with the scene as the audience was.

Fantasy is for The Birds

Review

De Sévigné’s performance was ethereal and lovely. With a fuller, more mature sound that has maintained all of its agility and height, she soared effortlessly in lengthy, dazzling coloratura over ensembles, duets, and choruses with incredible skill.