review / performance
Matthew Polenzani strode into the Park Avenue Armory’s Board of Officers Room last Monday evening and was received like a beloved friend–and indeed that is what he is to many of New York’s opera-goers.
By Emma Hoffman
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Washington National Opera’s final production of the season, seen May 22, is also its high point: a new Turandot directed by Francesca Zambello, updated to the 20th century and featuring the world premiere of a completion of Puccini’s score by composer Christopher Tin and playwright and screenwriter Susan Soon He Stanton.
By Alex Baker
It has been a great season for prolific Bay Area composer Jake Heggie.
Like Emily discovering her gift in The Weight of Light, Vanguard fellows (ideally) come through a process of intense multivocality with a stronger sense of their own individual voice.
Erin Morley closed Vocal Arts DC’s season on May 13th with a recital in the Kennedy Center’s Terrace Theater, partnered by pianist Gerald Martin Moore.
By Alex Baker
To bring a well-known story to the stage, many methods are available.
By John Yohalem
On May 2, Rebecca Herman‘s conceptualizing of Carmen was a significant departure from the traditional depiction of a marginalized “other,” maintaining a traditional staging in Seville.
The Cunning Little Vixen, Leos Janacek’s late-career opera—a wonderous work with an almost miraculous sense of charm and poignance—has found significant success in conservatories.
By David Fox
There was much to love in Andrew Ousley’s Tiergarten: a three-night cabaret revue from Death of Classical and part of Carnegie Hall’s Weimar Festival, performed in the vaulted gothic hall of the Church of St. Mary.
By Annie Levin
In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.
By Eli Jacobson
Her star is indeed on the rise, but squarely on her terms.
By Emma Hoffman
