Profound, moving Bernstein double-bill

Review

As it turns out: with some very intelligent staging and committed performances from the cast, the tale of Sam and Dinah's dysfunctional marriage became the perfect backdrop for Arias. Thus, it became the kind of thought-provoking evening that I think Bernstein always strived for but never seemed to get through his music.

Real Prisoners' Voices Make Heartbeat Opera's "Fidelio" Resonate

Review

Video projections reinforce the inmates' commitment to music and text, their chins raised, brows gently furrowed, and lips outstretched to form German vowels. The singing is emotionally wrenching in its delicate roughness.

And Here We Are: voice versus volume

Review

The opera is billed as a shadow puppetry opera. That sounds interesting but it is a concept that, while lending a certain artistic edge, falls short of fulfilling the promise of collaborative storytelling. The impression it leaves is more that of a crutch, which Welch's fine composition does not need.

Slightly unsettling: The Overcoat

Review

Sometimes they'll just lay under the bed and watch the action taking place, or curl up into a corner; it is creepy and odd, but works so well for this style.

Grappling with daily life: WNO's Candide

Review

The production is the focal point of the Kennedy Center's programming in honor of Bernstein's 100th birthday, and amounts to the most enjoyable night of theater offered by WNO this season with its just-right combination of thrilling music, vocal gymnastics, impressive theatrical effects, belly-aching comedy, and effective storytelling.

Exquisite singing in the COC's Anna Bolena

Review

It's not the most dramatically fulfilling show but the singing is exquisite. The show definitely could have benefitted from (more than) a few judicious cuts. It's one thing when the text is repeated in a number, it's quite another when it's repeated in three or four.

Abrahamyan's Carmen "smooth, sexy, and enticing."

Review

There was a lot about this production that I enjoyed - Corner's staging keeps the energy and feel of Bizet's original piece while also allowing for Atlanta Opera's chorus to provide some of their trademark cheekiness within the larger chorus numbers.

Touching & traditional: Eugene Onegin in Vancouver

Review

As one of the few non-Russian principals, one would think she'd be at a disadvantage, but her diction was so flawless, that a native Russian speaker in attendance was amazed that it wasn't her first language. I hope this role becomes a staple in her repertoire.

Heartbeat's Giovanni successfully bucks tradition

Review

From the overture's opening measures, the band produced genuine chamber music. Gleb Kanasevich, whose playing I've admired since his conservatory days, had increased responsibility as the lone wind. Schlosberg's orchestration demands fast arpeggiated chords, virtuosic melodies, and character-driven phrases to compensate for the missing winds and brass.

Simpler Così offers sizzle & substance for Emerging Artists

Review

Of course, the success of Così fan tutte rests with the six singers and the magic they create both individually and in various combinations of duets, trios and more. For this production, two of the characters - Ferrando and Despina - are double cast, while the other four characters remain constant for the run.