Classic for good reason: The Marriage of Figaro

Review

It was most heartwarming to see the relationship between Lois and Thomas Oliemans as Susanna and Figaro. Oliemans seemed to go for a more casual Figaro, not quite the charismatic showman that one sees in other productions (or in The Barber of Seville for that matter). His was an unobtrusive Figaro, more content to go along with the schemes of others than to make up his own.

Opera Technology: Hither and Yon

Review

While I was not in attendance at the recent Maria Callas presentation in New York, neither was she. Within limits then, I can write about what is loosely termed a demonstration of holographic inspired illusion, as this consideration kicks off.

A perfect fit: The Overcoat

Review

Throughout all the major demands on his body, never once did the character of Akakiy falter or weaken. We empathetically follow his journey from introverted, obsessive-complusive to local celebrity and back down again. We see in him our own need to be held in high regard by people we do, and don't, know.

What a long, strange trip it's been: Belladonna

Review

The two happen upon some berries and and with some coaxing, Cloth decides to join this new friend in tasting them. The berries take them on a psychotropic trip where they encounter Atrophy. Atrophy is personified in a dancer who leads them on a wild and destructive rampage of expression.

Twice on This Island

Review

The percussionist inside Mr. Copeland finds the perfect places for the musical punctuation of xylophone, triangle, concert tom-toms, etc. And even though the tip-toeing steps of the bass and bassoon are heard throughout, it's the booming bass and bass drum that drive the drama, expressing the developing madness inside and outside the characters.

Just plain great: PBO's Le nozze di Figaro

Review

Palm Beach Opera put on a great show, but it's worth noting that the aspects that made it so great – a stellar cast, thoughtful design, skillful interpretation – can be applied to any opera, regardless of inclusion in the Greatness canon.

A Butterfly, but not from Puccini

Review

The riverboat set is a marvel of art and engineering by Mark Frederic Smith. Taking up nearly the entire width of the proscenium, it gracefully and quickly revolves to reveal the front, back, and both sides of the boat, giving Ms. Evans and her cast many options to play the various scenes.

The Lady steals the spotlight in ROH's Macbeth

Review

What Verdi does illustrate brilliantly is the power struggle and fight for status between this couple. Who is the driving force behind all of these horrible acts? It could be either one of the power-hungry duo, although at times it's clear that behind every powerful man there is an even more powerful woman.

Strong despite the details: Rigoletto in Minnesota

Review

The musicality and the drama reached its peak with the final scene. The electricity coming up from the pit was so palpable, I felt physically ill when Rigoletto held his daughter for one last time. Despite a few issues with the production itself, the power of the story came through.

BLO's Threepenny Opera: a misanthropic delight

Review

And then Kelly Kaduce came onstage: when her Polly Peachum walked on in an unglamorous wedding dress and unkempt black hair playing a sarcastic, monotone version of the typical operatic ingenue her character is written as, it became clear exactly what the work was setting out to do.