Verdi’s sublimely memorable melodies inform and redeem his setting of the dramatically muddled Il Trovatore, the most challenging piece to stage of his middle-period successes.
Puccini’s only comedy, the one act Gianni Schicchi is most often programmed with a second short piece of tragic fare, but the adventurous Pacific Opera Project has banked on a fanciful Ravel opus to sustain the mood and send the audience home with tickled ribs and gladdened hearts.
If you might have thought a late 17thcentury semi-opera about a somewhat precious fairy tale monarch might not be your cup of twee, Long Beach Opera cogently challenges you to think again.
I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.
It is hard to imagine a more animated, engaging, and musically accomplished night at the Academy of Music than with Opera Philadelphia’s winning new staging of The Love for Three Oranges.
I don’t know what the rest of Operadom is doing to cast Baroque opera at the moment, for the world’s most superlative Handel specialists all seem to have converged on Opera Philadelphia’s stylish Semele.
Taking risks is part of what Opera Philadelphia’s O19 Festival is all about, and the opening night performance emphatically gambled and won.
Opera San Jose vivaciously kicked off its 2019–2020 season with a heady version of Strauss’ immortal Die Fledermaus that had all the effervescence of vintage champagne.
For the annual production of a classic American musical that has become part of Glimmerglass Festival’s mission, the company mounted a wholly winning version of Jerome Kern and Oscar Hammerstein II’s immortal Showboat.
From the first haunting, glistening sound of the orchestral strings to the ponderous final strokes in the score that echoed the dying heartbeats of a doomed heroine, Glimmerglass Festival’s superior La Traviata was an indelible achievement.