Chiaroscuro classics: The Marriage of Figaro

Review

Even with the dark elements, the piece did not lose its comic lightness. It was still an evening full of laughs and slapstick, but the more serious aspects were brought forth. Along with this unexpected episode, Mortellaro's characterization of Susanna in the final two acts deviated from the common chipper portrayal of this sassy maid. She was a bride-to-be who truly didn't want to go along with the Countess' plan to trap the Count.

A luminous Lucia at Florida Grand Opera

Review

Soprano Haeran Hong in the title role was superb. Her performance from start to finish was a spellbinding display of virtuosity and musical imagination; her mad scene cadenza felt effortless, almost improvised. She captured a range of emotion and colour to rival the soaring range of notes — flawlessly executed — that comprise Donizetti's challenging score.

Persona and the Sounds of Silence

Review

It'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

Review

AFGHANISTAN: 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."

Review

Enthroned 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

Review

This 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

Review

This 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

Review

I 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

Review

Is 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

Review

She 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.