Roland Wood delivers terribly good Scarpia in COC's Tosca

Review

Your skin crawled when he spoke to Tosca. You wanted to cheer when his carcass hit the floor in his office. Yet, besides all of this, it has to be well-sung. Wood's handling of the Baron's music was excellent. His tone evenly matched throughout his range, and a fantastic use of his dynamic colour palette to really dig into the darkness of Scarpia.

Soula Parassidis shines in Iphigénie en Tauride

Review

Parassidis gave what is perhaps one of the most electrifying performances I have ever seen at the opera house, and considering the amount of opera I have seen that is no small feat.

Baritone Stéphane Degout triumphs in the Park Avenue Armory's Board Of Officers Room

Review

Puccini considered Suor Angelica his favorite work; it was also his most personal, inspired by his sister who was an actual nun. The music is all pleasingly lyrical but it's all a slow set-up for the eventual entrance of La Zia Principessa (as mentioned, portrayed here by the highly talented Ms. Lewis.)

Gianni Schicchi & Suor Angelica: professional Puccini at Juilliard

Review

Puccini considered Suor Angelica his favorite work; it was also his most personal, inspired by his sister who was an actual nun. The music is all pleasingly lyrical but it's all a slow set-up for the eventual entrance of La Zia Principessa (as mentioned, portrayed here by the highly talented Ms. Lewis.)

Heartbeat Opera: Dial Lady M for Murder

Review

Even if you are producing the original Verdi version of Macbeth, you better have a great 'Lady M.' Here with the story focusing on that character, the singer must be equally unimpeachable. Enter Ms. Algozzini, a diminutive Italian soprano who blasts us backwards with her extraordinary vocal cannon.

NYOANext!: The sound of (opera) music in the Bronx

Review

Seven opera companies from NYOA's fifty company membership, performed arias and duets from familiar operas and from some upcoming productions which are part of the NYOANext! Festival.

Tosca at Heartbeat Opera: art to the point of distraction

Review

Shadi G can only get to her concept by imposing an element which proves to be downright distracting. She has added to the cast two non-singing members of "the secret police" who are ominously watching the proceedings and who even try, on several occasions, to arrest members of the cast.

Brilliant: a compassionate Bluebeard and a comforting Castle

Review

Finley's Bluebeard is caring, soft-spoken, and deliberately gentle. The scene opens in silence with him preparing to bring Judith home. He's so excited to see her, he kisses her photo and practically skips out the door.

Of The Sea: a beautiful, overdue story that lingers

Review

There are some shows that never leave you whether performing in them or experiencing them. Of The Sea is one of those. Not just musically and visually. This piece made an impact.

Bluebeard’s music shines, with Alma’s highlights

Review

The last of the four songs is actually quite dark in a way that fits the quizzically gothic ending of Bluebeard's Castle pretty perfectly, so it ended up forming an arc that actually did somehow add to one of opera's most perfect endings.