Die Fledermaus adaptation delivers effervescent performance

Review

The standout performer of the evening, however, was soprano Laura Brandt as Eisenstein's wife, Rose. Brandt's spinning, confident voice pervaded this production from beginning to end with richness and depth. And in the tradition of a true leading lady, Brandt's chemistry with each of her castmates - from her husband to her ex-lover to her maid and beyond - is naturally seamless with each interaction. Hers was truly a tour-de-force performance.

Opera adapts a medium more adept at adapting

Review

For an opera, the score doesn't have much singing. Mr. Eddy's part is the most unique, full of guttural throat clicks, pops, screams, and burps. At one point he babbles like a tape on fast forward, an unexpectedly thrilling effect live. The character comes off more comic than scary, but who cares with such entertaining music.

Fleming enchants: luscious morsels of post-opera career

Review

When soprano Renée Fleming offers a concert without any operatic repertoire, you wonder what the "People's Diva" will sing. Not surprisingly, in front of a capacity crowd, Fleming delivered with luscious morsels of her career after opera.

Glitter and flair: Queens of the Night

Review

It is best not to overanalyze the production, as it was, for lack of better words, a wickedly entertaining opera-themed drag show. The evening's show followed a plotline involving Martha Graham Cracker's desire to impress her crush, Blythely Oratonio (Stephanie Blythe's drag king alter ego.) Throughout the performance, there were musical numbers, which were very clever arrangements, combining pop music with operatic motives (such as "I Want To Break Free" combined with "Quando m'en vo.")

The astonishing product: Glass Handel at O18

Review

As the audience made their way to seats, there was a rising sense of tension. We had been informed at least six times that we would be moved around during this multimedia event. One had to question why there were so many disclaimers. Do we really want a stranger moving our chairs during a performance? Well, it turns out, yes we do.

Racette an unmissable Elle in O18's Ne Quittez Pas

Review

Delivering a one-person show is an arduous creative task to accomplish, and Racette does it with astonishing success. When the monodrama is finally over, it takes a moment to return to reality, as Racette has completely transported her audience to Poulenc and Cocteau's world.

LA Opera season opens with The Rodrigo Show

Review

Morris Robinson hits his third home run in a row at LA Opera as the blind, self-righteous, single-minded Grand Inquisitor. Having wowed us as Zaccaria in Nabucco, and Sparafucile in Rigoletto, he’s become a regular at LA Opera and he lifts any production to the sublime in any role that he plays.

Odyssey Opera's grand La reine de Saba a great season opener

Review

Odyssey Opera's work restored all of the finales of the middle three acts to their complete forms, with a note in the program adding that they believe most of the material they restored had never been heard prior to their performance. That this content was cut to begin with should come as an absolute shock: the restored content felt absolutely vital to how the work unfolds dramatically.

Brenda Rae earns her ovation in O18 Lucia

Review

As a musical force, opera is an art form that relies on the power of the unamplified human voice to move audiences. The voices of this cast undoubtedly provide the power to bring this opera to life. Whether you have never seen Lucia before, or you are a bel canto connoisseur, these vocalists and musicians make for a rewarding and awe-inspiring night at the opera.

Sky on Swings a must-see of O18

Review

The most captivating moments in the opera are those that involve only von Stade and Simpson together onstage. They create a sense of emotional intimacy and truth, by superb acting and unshakable presence. Their performance is the epitome of genuine artistry and truthful expression.