Everyday people & spectacular emotions: La bohème

Review

Rodolfo and Mimì shared what felt like a genuine chemistry. Sung by Welsh soprano Natalya Romaniw making her ENO debut, it was a subtle and heartfelt performance. There was something classic about her sound that I really loved. It was a true triumph. Musetta, sung by ENO Harewood Artist Nadine Benjamin, was unfortunately the weakest character for me.

Bumping elbows at CFO's Long Christmas Dinner

Review

Soprano Jessie Lyons went hardly unnoticed as Lucia, who spent most of her time on the winding stage, alongside Jonathan Zeng as Charles, whose charisma and stunning tenor voice required the attention of all attending. The audience also couldn't ignore Andrew Groble's thunderous baritone voice that was a delight for the ears, with additional support from Naomi Brigell emotional performance of the slowly deteriorating Genevieve.

ENO's Lucia: "I wanted to see her fight back."

Review

I found Alden's production be be a challenging one. I think that's the nature of this piece. The subject matter is very dark and though I appreciate that it didn't shy away from depicting the violence done to Lucia, I was left unsatisfied with the way it was handled.

Unraveling BOUND v.2: Second time is (also) a charm

Review

Kevin Lau's reconstruction of a variety of extracts from Handel's vast catalog of compositions struck a tottering balance between showcasing one of the most celebrated composers of the classical repertoire in its original form — and enticing a modern audience with the experimental synth-tracks, glitches and contortions available to the digital soundscape.

On day's notice, duo is ideal recital replacement

Review

Ms. Karg reassured the audience that she had recently performed the two Debussy sets anchoring her program – for this year's centenary of his death – though never with pianist Simon Lepper (her usual collaborator, the eminent Gerold Huber, was booked). Ms. Karg and Mr. Lepper had never shared the stage before Tuesday night.

Idealistic & lavish: Simon Boccanegra at ROH

Review

But I was completely captivated by Ferruccio Furlanetto's Fiesco. He was the aged, revenge-hungry villain whilst still being able to inspire pity. And though it was a voice approaching the end of a long career, he had such a commanding and assured presence on stage that one couldn't help but be carried along with him.

Transformation: BOUND v. 2

Review

Although this iteration seems to be much more of a display of the the transformation of the score in particular, I did miss the theatricality of the original staging. I missed the solitary cells, the cold ambiance, the interrogations by the state.

History-making cast in Chicago's Il trovatore

Review

The performance was something truly special and memorable. Last night, I understood what it must have been like to have heard the likes of Pavarotti, Milnes, Horne, and Sutherland. Just as those artists had defined the canonic Verdi roles for their generation, the cast of this Trovatore at LOC is poised to set a new standard for this repertoire.

True impact: DMMO's Glory Denied

Review

This is Des Moines Metro Opera's second opera performed at Camp Dodge, and I hope it will not be the last. Aside from the physical location, the collaboration with the military community produces numerous benefits. The participation of veterans and active duty service members in the post-show panel discussion helped to bridge the gap between theater and reality.

A chilling cry of warning: ENO's War Requiem

Review

It is a piece that could have been so unabashedly English but instead it was a nationless, chilling cry of warning. It was a perverted mockery of the dangerous, power hungry nature of war. It was one long, beautiful moment of extended prayer.