Tchaikovsky’s grand opera The Queen of Spades might seem an unlikely fit for the multi-purpose room of the Pavilion on the Glimmerglass campus but that qualm would fail to reckon with the superior creative gifts of the production team at this prestigious festival.
Glimmerglass Festival has commendably taken on a potent social theme in producing the World Premiere of composer Jeanine Tesori and librettist Tazewell Thompson’s Blue.
From the shimmering first sounds and alluring opening visual effects of Glimmerglass Festival’s The Ghosts of Versailles, it was apparent that we were in for an evening of aural and theatrical splendors worthy of its namesake palace.
Jake Heggie and Gene Scheer have become an indispensable presence in the contemporary opera world, and their latest premiere, If I Were You, found the duo at the very top of their game.
Santa Fe Opera continues its remarkable record for producing World (and American) Premieres with The Thirteenth Child, music by Poul Ruders, libretto by Becky and David Starobin.
Des Moines Metro Opera closed their wholly winning 47th festival season with a wondrously sung, theatrical vivid, and emotionally bewitching treatment of
Puccini’s evergreen masterpiece, La bohËme.
The version of Bernstein’s and (too-many-collaborators-to-mention) Candide that inhabited the Des Moines Metro Opera festival had a great deal to recommend it.
If any further proof were needed that Des Moines Metro Opera is at the forefront of operatic excellence in America, their theatrically searing, musically impeccable Wozzeck would cement this assertion.
Des Moines Metro Opera delights in coming up with site-specific operatic presentations, and Bon Appetit was triumphantly produced in the handsome hall of the Iowa Culinary Institute.
I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.