Barbara Hannigan and Bertrand Chamayou at the Armory: the only place to be
Reviews
Persona and the Sounds of Silence
ReviewIt's Alma, played by mezzo-soprano Crider who must carry the show on her musical shoulders and she delivers a stunning performance, both as singer and as actress. Crider doesn't miss a beat capturing the emotional complexity of Alma's character while traversing the complexity of Keeril Makan's score.
Emotional nights with the TSO
ReviewAFGHANISTAN: Requiem for A Generation was not only a solemn concert to remember those men and women who have served, and just as importantly - continue to serve, in our Armed Forces, but also to remember those whose lives are touched by war. It was equal parts celebratory for our freedoms, respectful that we still have a way to go, and reverent to those who have gone before us.
Thomas Paine in Violence "must be witnessed."
ReviewEnthroned eight feet off the ground, she presides like an oracle. Below is bedlam. Four hyperactive, dapper, brown men run her subconscious. The "Manchorus" (played tirelessly by Paul Pinto, Andrew Mayer, Christian Luu, and Eddie Rodriguez Jr.) frenetically shuffles about, sharply turning and gesturing, maneuvering papers, tables, panels, electronics, and punctuating Paine's speeches with tight, high, vocal stabs for dramatic and comedic effect.
"Truly gripping": Die Walküre at Lyric Opera of Chicago
ReviewThis is a dark and ponderous tale that is driven by the psychologies of the handful of principal characters who share between themselves several lengthy dialogues. Wagner's worlds are inherently immense and overly ambitious (that is, garish) productions of his Ring in particular merely distract.
An extended mad scene: Glory Denied
ReviewThis work does succeed in its desire, as the composer explained in a talkback, to give an idea of the angst of the time period for the current generation, and it does successfully highlight the plight of disregard for veterans' care that casts a pall over the legacy of our great nation.
Overdue for a Chicago performance: The Haunted Manor
ReviewI must confess a certain bias on my part for this opera. As both a Chicagoan and fellow Pole, this opera has had a special place in my heart since my childhood. I grew up with its melodies and rhythms and came to appreciate its historical significance in Polish Saturday School. Naturally, I was thrilled to learn of a Chicago production.
Sleek storytelling & costly illusions: WNO's Alcina
ReviewIs the cold harsh truth better than a comforting lie? That is the question asked by Handel's Alcina, an opera filled with lies and illusions; the beauty of Alcina's island, Bradamante's disguise as Ricciardo, and Ruggiero's enchanted love for Alcina are all falsehoods whose exposure have serious emotional consequences for the characters of this story.
Akhmetshina's "devastating" Carmen at Wilton's Music Hall
ReviewShe was a vixen, but her sensuality was brilliantly balanced with a heartbreaking awareness of her own impending death. Her singing was gorgeous - a rich voice full of colour and flexibility that blossomed into an unexpectedly full, gorgeous sound in the top.
La Belle et la Bête at LA Opera is a beauty
ReviewCocteau's haunting visuals are appropriate to watch on Halloween. At the 10/31 LA Opera production there was in fact a sell-out crowd. Many were dressed for the costume contest and party that followed (included in the price of admission) but this reviewer was extremely impressed to see a sell-out crowd in Los Angeles wildly applaud the combination of a vintage film and avant-garde opera.
A Lucia with agency and independence at the Royal Opera House
ReviewIt was even more refreshing to see a very real depiction of female pain on stage - something that could never be sterilised or downplayed. There was nothing but bravery from Oropesa as she navigated the emotional turmoil of the second half of the opera.