Reviews

5 Frankenstein-themed shorts leave you wanting more

5 Frankenstein-themed shorts leave you wanting more

In spite of the fact that it's hard to tell a story in twenty minutes, I walked away from this exciting evening hungry for more short bonbons of opera. I was grateful for the theme of the evening, which the creative teams either ran with or ran away from.

John Beckett
Thaïs: dazzling score, dazzling set, dazzling cast

Thaïs: dazzling score, dazzling set, dazzling cast

I have liked every production in the Minnesota Opera this year, but after this one, I felt that the creative team had been holding out on us. Thaïs blew the rest of the season out of the water. The lighting (Marcus Dilliard), sets and costumes (Lorenzo Cutuli) were perfect. The creative team came out and took a bow, and they certainly deserved it.

Callie Cooper
Profound, moving Bernstein double-bill

Profound, moving Bernstein double-bill

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.

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

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

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.

Jeremy Hirsch
And Here We Are: voice versus volume

And Here We Are: voice versus volume

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.

John Hohmann
Slightly unsettling: The Overcoat

Slightly unsettling: The Overcoat

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.

Melissa Ratcliff
Grappling with daily life: WNO's Candide

Grappling with daily life: WNO's Candide

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.

Molly Simoneau
Exquisite singing in the COC's Anna Bolena

Exquisite singing in the COC's Anna Bolena

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.

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

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

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.

Daniel Weisman
Touching & traditional: Eugene Onegin in Vancouver

Touching & traditional: Eugene Onegin in Vancouver

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.

Melissa Ratcliff

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