Varied Opera Bites delivers interesting & delectable morsels

Review

Of course no wife would be spurred to murder her husband based on fortune cookie fortunes, but here it happens, and in exactly the kind of over-the-top manner that only opera can pull off. It was a joyous way to end the first half of the program.

Feminism & confetti: Atelier's triple-bill

Review

Thank goodness for one-act operas. They're like a shot of great espresso, or a single chocolate truffle - the kind of indulgence that's short-lived, but immediate and totally satisfying. Among all the lengthy, luxuriating opera we see - all the da capo arias and all the Wagner - compact one-acts like Actéon and Pygmalion allow even the most hardcore of opera fans to admit that their attention spans don't always like to be stretched so thin.

Strong ensemble lifts Edmonton Opera production of La traviata

Review

The night, however, belonged to baritone James Westman and his standout performance of Giorgio Germont, Alfredo's father. Westman has considerable longevity with this role; he will play Germont for the 200th time in the spring of 2019 in a celebrated career that has spanned two decades.

The Flying Dutchman a stellar homecoming for HGO

Review

HGO's triumphant return to this venue was replete with sheer authenticity of spirit, dedication, and craftsmanship from all quarters. Throughout this marathon performance, I was pleasantly touched by this production that treated the central narrative of redemption through love as something to be regarded passively, and not inhabited fully, to be believed, yet inviting scrutiny from all angles.

VO's Merry Widow a comedic tour-de-force

Review

The setup for the Widow's entrance was hilarious, with all the men in the cast fussing over themselves and falling over each other to get to the door. The whole scene is an awkward, funny, madcap buildup to the heroine's entrance.

A frighteningly timeless story of abuse: Pagliacci

Review

In the second act, it felt like Burton and Partridge were no longer holding back dramatically, and in their final confrontation during the play within a play, both singers delivered the most heart wrenching vocals of the opera. Their struggle was rife with emotional and physical violence, and predictably, it did not end well for Nedda or her lover, Silvio.

Glamour & fury: Idomeneo in Chicago

Review

Matthew Polenzani, in his fifteenth(!) role at the Lyric, is the dramatic anchor of the cast. His dependably excellent and grounded singing is ideal for the role of this grand, eloquent king. Even in the most bravura moments, Polenzani's singing was refined and elegant.

Hadrian: a true grand opera

Review

Antinous, Hadrian's lover, has possibly the dopest (and gayest) entrance of any opera, ever. Surrounded by a bevy of mostly-nude, highly-sculpted, male dancers, I can only imagine tenor (and friend of Schmopera's) Isaiah Bell was living his absolute best life - and it showed in his singing. From his first "Antinous" when the cacophany in the pit mirrors the chaotic joy Hadrian feels, to his final moment onstage, Bell is a vision.

Fidelio as a mirror of human rights

Review

In fact, this whole production makes reference to human rights abuses across the world; projected background images include those of Colombian mothers protesting the army-sponsored murder of their sons, to Goya's painting "The Third of May", a depiction of the execution of unarmed soldiers. This production misses no opportunity to shine a light on the corruption of power, and the resultant loss of human rights.

A world premiere: Anna Christie

Review

Director Nancy Rhodes describes it as "crossover" but it might be more appropriate to call it "criss-cross over"; the music never stops and the singers mostly sing, but sometimes halt to utter a comment, exclamation, or quick exchange of dialogue. The combination always feels just right, as the emotions and/or whimsy of the characters rise and fall.