The Rose Elf: Hot Times In The Cool Catacombs

Review

Early in the opera the lovers share a moment in which they assume the role of rose petals and enfold the elf, quite literally, within themselves. It was a wildly passionate action, which, like the presence of a life-size elf, distorts our sense of reality, even within the confines of this dark fairy tale.

Shining a light: Toward Tomorrow

Review

Ko's rendition of Yentl's "Papa, Can You Hear Me?" and "A Piece of Sky" were both touching and fraught with emotion to open and close the show. Her aria "Elle a fui, la tourterelle" had wonderful moments of pathos, and her floated high notes were bright and brilliant.

Simulacrum: Futuristic angst and dance

Review

Broadly interpreted and playing to the opera's self styled emphasis on technology, Simulacrum is about the conflict between man and machine. More specifically, it is a story of futuristic angst told against a backdrop of techno-existentialism.

Opera 5's Barber: fab singing & Spanish flair

Review

One great concept is putting guitarist Andrew Cloutier into the action. He plays all the recitatives - a perfect sound that piques interest without pulling focus - and he plays a wordless role as the accompanist to Almaviva's serenades to Rosina, and to Rosina's singing lesson with "Don Alonso".

Michael Tilson Thomas takes on Ruggles: Mozart & Mahler

Review

Thomas knew Ruggles as well as anyone could get to know this feisty Yankee, prone to being stubborn, cranky and downright disagreeable. Nonetheless, Thomas championed Ruggles, recording his complete music with the Buffalo Philharmonic and including his works with some frequency on programs in San Francisco.

Distant, Emotional Brokeback Mountain A Paradoxical Success

Review

I would say that Wuorinen has done Proulx's story justice, and breathed new, interesting life into what is already considered an important narrative in LGBTQ storytelling.

Merrily The Rake's Progress rolls along

Review

It is apparent that one doesn't question the avant-garde at Mannes, but welcomes it. Recent productions of Robert Ashley's conceptual Dust and Philip Glass' rarely performed The Fall of the House of Usher reinforce that point. And there is enough invention in Stravinsky's composition and the beautiful libretto by W.H. Auden with Chester Kallman, (a satisfying read in its own right) to keep these gifted singers and musicians on their toes.

'i': opera run by the cool kids

Review

The design of the opera, under the obviously careful eye of Kofen, felt almost Bauhaus-inspired, which really worked with the bonkers nature of both the libretto (also by Kofen) and the music and the DIY nature of the costumes (mostly made out of waste paper, hence the company's name).

Audra McDonald and the Art of Perfection

Review

She let us know that she considers herself "a champion of new composers." "That way," she told us, maybe only half-joking, "I'll still have a job in the future." She reminded us that Jason Robert Brown was once a "new composer" and proffered his "Stars and Moon" which has become one of her signature songs.

Love Potion Number Nein

Review

Mr. Mitisek and Long Beach Opera have built their world-renowned reputations on new works and the discovery of neglected treasures from the past. Mr. Martin's 1942 opera does not fit into either category.