It’s glorious and it’s gripping; it’s grand — and
it’s good! Indeed, Jake Heggie’s Moby Dick,
premiered by Dallas Opera in its handsome new Winspear Opera House on April 30,
is a work that restores meaning to basic vocabulary made banal by overuse
through the decades.
Author: Gary Hoffman
Heggie’s Moby-Dick a whale of an opera
Antony Walker: Big things lie ahead for opera conductor
http://www.washingtonpost.com/wp-dyn/content/article/2010/05/09/AR2010050902954.html
‘Amelia’: Seattle Opera embraces challenge on a grand scale
http://seattletimes.nwsource.com/html/localnews/2011825569_vietopera10m.html?prmid=head_more
Juan Diego FlÛrez, Barbican, London
http://www.ft.com/cms/s/2/ee20f1dc-5c44-11df-93f6-00144feab49a.html
In a Laboratory, Turning Traditional Notions of Opera Upside Down
http://www.nytimes.com/2010/05/08/arts/music/08vox.html?src=mv
Rossini’s Armida, New York
Armida is fabulous. That is to say, the story is a fable. Rinaldo,
the very type of Christian warrior, is torn between his duty to lead the First
Crusade and the sensual ecstasies offered by the beautiful sorceress Armida.
Floyd’s Susannah in Boston
Fifty-five years after its premiere, composer and creator reunite for a new
production at Boston University
Smut and loathing in Powder Her Face
http://www.thisislondon.co.uk/music/review-23828539-smut-and-loathing-in-powder-her-face.do
Il barbiere di Siviglia, Arizona Opera
The story of Gioachino Rossini’s Il barbiere di Siviglia (The
Barber of Seville) is based on Pierre-Augustin Caron de Beaumarchais’
1775 play, Le barbier de SÈville.