Florencia en el Amazonas takes on a life of its own at HGO

Review

Martínez's inimitable dulcet vibrato tones had a way of embodying the butterflies into which her character eventually transforms. Anybody wanting an avenue to approach this opera would do well to begin with her music, which offers this opera's most audible links with the traditional Puccinian repertoire which is her specialty.

Constructive frustration from ROH's Queen of Spades

Review

I think it is a good thing to have my sensibilities questioned. An opera score does not always need to be taken at face value and can be up to individual interpretation.

Haroun and the Sea of Stories a surreal, timely treat

Review

It is always tricky to adapt a book about storytelling to any medium outside of the written word, and it is even more difficult when you deal with a work which wears its political overtones like a badge of pride.

Uneven Scarlet Ibis Meditative To A Fault

Review

Unfortunately, Weisman's score does not always meet the standard that Cote sets. The issue is that Weisman's music is often relatively one-note if something of little dramatic import is going on.

A long-standing tradition: La traviata at ROH

Review

Sitting in the audience, I had the feeling I was part of a long standing tradition, one that dates back to 1858 when the opera was first performed at Covent Garden.

Counter/Culture

Review

There was literally something for everyone who enjoys culture. Though many elements tied together, in the end it had the same effect as a large, complex mosaic - no surprise since it was the result of a collaboration between many: Mr. Costanzo conceived the project in conjunction with the artistic directors of Visionaire and National Sawdust, which is known for its interdisciplinary productions.

"Pop-Up Opera"

Review

Menotti holds an unusual niche in musical history – he's one of the rare post-Puccini composers who continued in the romantic or verismo style while the opera world became mostly atonal and minimalist. He is also one of only a handful of composers – like Wagner – who wrote his own libretti.

Amahl production a charming gift of youthful energy

Review

Amahl's widowed mother, played by soprano Megan Miceli, was another bright star of this production. Like Pfeifer, Miceli's portrayal was honest and nuanced, her round, vibrant tone filling the performance space with ease.

First-rate comic experience from an immature masterpiece

Review

The main story is about the lost son of a murdered king, fighting against the weak offspring of the usurper for love and his right to the throne, successfully winning both. That's it, literally. And this perfectly illustrates why a lot of similar operas are gathering dust on the shelves of libraries. A pity, since sometimes the musical material is real gold.

Standout performances in AVA double-bill

Review

Richard A. Raub must be commended for his work with both the cast and the orchestra. While intonation was, at times a noticeable issue, the ensemble gracefully navigated from swelling passage to swelling passage. Raub also maintained an energetic momentum through the work. Raub kept the high level of romanticism without ever losing any precision.