Reviews

A moving spectacle: Akhnaten

A moving spectacle: Akhnaten

Every bit of this production was beautifully and intricately crafted; from the dazzling, elaborate costumes, to the evocative colour palette, it was a fully immersive experience that was moving in the most unexpected ways.

Alessia Naccarato
Uncluttered magic in Carsen's Midsummer

Uncluttered magic in Carsen's Midsummer

For those looking to escape into a Shakespearean fantasy world filled with fairies, comical misunderstandings, and top-notch singing, this production of Midsummer is not to be missed.

Erik Flaten
Majeski makes sensitive, subtle ROH debut in Kát'a Kabanova

Majeski makes sensitive, subtle ROH debut in Kát'a Kabanova

It is a piece that is so clearly a microcosm of a very specific place and time. Director Richard Jones has chosen to set it in the mid-60s in a repressive, religious Russian community where a life of domesticity, is a woman's only option.

Alessia Naccarato
Stemme's Elektra visible in every wild look and lurching step

Stemme's Elektra visible in every wild look and lurching step

Every facet of this production is thoughtful and dramatic, so much so that even the actors aren't immune from its terrors. It was announced before curtain that Stemme sustained a knee injury during a rehearsal (one look at the steeply raked set and you'll wonder the whole cast isn't on crutches!).

Hannah De Priest
All too rare: Hannigan takes the podium with the Cleveland Orchestra

All too rare: Hannigan takes the podium with the Cleveland Orchestra

Hannigan's well received turn at the podium, met by an immediate and unanimous standing ovation, should serve to demonstrate to the Cleveland Orchestra, and to classical music institutions across the continent and around the globe, that making an effort to include and elevate marginalized perspectives holds significance well beyond meeting a quota or "catching up with the times."

Carly Gordon
Bucking trends: Hook Up

Bucking trends: Hook Up

It was at times Sondheim, at times Schwartz, at times Bernstein, but the overarching feeling (to me) was akin to Adam Guettel's masterpiece A Light in the Piazza.

Greg Finney
Expressionist nuance: Elektra at the COC

Expressionist nuance: Elektra at the COC

What can one possibly say about Christine Goerke in this role and still do justice to the kind of singing we experienced on Saturday night? Her vocal range is not of this dimension and her finesse to Strauss' bombastic score is something to be witnessed in person.

Greg Finney
So true it hurts: Hook Up

So true it hurts: Hook Up

The party scene put a pit in my stomach, as did everything that came after. The confusion, the horrid feeling of not knowing - but kind of knowing - what happened during a blackout, the inadequate explanations to friends and boyfriends, it was all too true.

Jenna Simeonov
A real woman shines through reductive Traviata in Palm Beach

A real woman shines through reductive Traviata in Palm Beach

Like the jewels she wore (and there were many), soprano Kristina Mkhitaryan sparkled in the starring role, singing with agility, clarity, and show-stopping emotional depth. Her soft, liquid entrances in "Addio, del passato" melded impeccably with the plaintive oboe solo.

Carly Gordon
There was a lot of drama: the LPO's Die Walküre

There was a lot of drama: the LPO's Die Walküre

This semi-staged production at the Southbank Centre's Royal Festival Hall with the London Philharmonic Orchestra had none of that. Well, except for the drama. There was a lot of drama.

Alessia Naccarato

Unlike other sites, we're keeping Schmopera ad-free. We want to keep our site clean and our opinions our own. Support us for as little as $1.00 per month.