Reviews

BLO Cavalleria a welcome, if not triumphant, return

BLO Cavalleria a welcome, if not triumphant, return

I think the night, strangely, was best summed up by the opening act: BLO elected to open the evening with the prologue from Cavalleria's much-beloved double-bill partner, I Pagliacci, with Arrey singing Tonio's line.

Arturo Fernandez
Wilson shines in the COC's digital fall opener

Wilson shines in the COC's digital fall opener

Wilson may be my new favourite interpreter of Wagner. Her Isolde did things to me, made me stop and zone in. Wilson always impresses me in her attention to detail; it's very clear that in the practice room, she has given attention to each note she sings.

Jenna Simeonov
Before it's gone: gems out of Opera Theatre of St. Louis

Before it's gone: gems out of Opera Theatre of St. Louis

The Tongue & The Lash features some of the night's best singing. Markel Reed as Baldwin orates with a steely baritone that comes with some bite; tenor Jonathan Johnson exudes an easy power that's slightly unnerving — even a bit colonialist — in his portrayal of Buckley, fan of racial segregation.

Jenna Simeonov
An opera fan's must-read: The Monster I Am Today

An opera fan's must-read: The Monster I Am Today

The Monster I Am Today is an excellent pick for the contemporary opera fan. It's grand and operatic, with its emotional peaks and depths. For me, it's a completely new — and frankly, overdue — perspective on this beloved art form. It's a fresh read, and I highly recommend.

Jenna Simeonov
New inventions & app-eras at Tête à Tête's 2021 Opera Festival

New inventions & app-eras at Tête à Tête's 2021 Opera Festival

As ever, I was truly inspired by the creativity of the artists in the line-up this season at Tête à Tête; they never fail in their curation of and encouragement for any and all work that lies outside the realm of the traditional.

Alessia Naccarato
Smiles of a Summer Night: Barber brings live opera back to New York

Smiles of a Summer Night: Barber brings live opera back to New York

Indeed Barber, the most thoroughbred of warhorses and the ultimate comic opera, has the potential to delight anew with a sense of tradition that feels like innovation, even in a sprawling park on a smiling summer night.

John Hohmann
A busy weekend at Des Moines Metro Opera

A busy weekend at Des Moines Metro Opera

The pandemic may have put performances on hiatus, but audiences are back and eager to enjoy live theater with all the passion and perseverance of the human experience. Welcome back, opera. We've missed you!

Meghan Klinkenborg
DMMO's Fellow Travelers: no happy ending, but perseverance

DMMO's Fellow Travelers: no happy ending, but perseverance

The heart wrenching scenes we did get were truly compelling, but I found myself getting impatient in the less exciting sections. The brief flashes of forbidden passion just weren’t enough to keep the momentum going, and I just wanted them to skip to the juicy parts!

Meghan Klinkenborg
Opera Atelier’s The Resurrection is resplendent art in the face of adversity

Opera Atelier’s The Resurrection is resplendent art in the face of adversity

What a pity, then, that Zingg and Pynkoski’s production couldn’t be showcased on a traditional stage, like that of Koerner Hall—where this production was originally set to premiere in April 2020—or the Elgin Theatre, Opera Atelier’s de facto home.

Joshua Chong
Girl in the Snow: a mysterious song cycle

Girl in the Snow: a mysterious song cycle

Though distinctly modern in all respects, Girl In The Snow possesses a timeless patina. Ordway's ambitious and naturalistic poetry, both dreamy, even fancifully at moments, is also marked with underlying tension and foreboding. Such variety seasons the work. His composition, written for solo piano accompanying mezzo-soprano voice, is resonant, often propulsive and grippingly abstract.

John Hohmann

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