"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.

La Belle et la Bête at LA Opera is a beauty

Review

Cocteau's haunting visuals are appropriate to watch on Halloween. At the 10/31 LA Opera production there was in fact a sell-out crowd. Many were dressed for the costume contest and party that followed (included in the price of admission) but this reviewer was extremely impressed to see a sell-out crowd in Los Angeles wildly applaud the combination of a vintage film and avant-garde opera.

A Lucia with agency and independence at the Royal Opera House

Review

It was even more refreshing to see a very real depiction of female pain on stage - something that could never be sterilised or downplayed. There was nothing but bravery from Oropesa as she navigated the emotional turmoil of the second half of the opera.

Opera is artifice: Giulio Cesare's conquest of Houston

Review

Costanzo's take on the title role, which HGO's Thursday Facebook release went to great lengths to publicize as a take on Indiana Jones, was very effective indeed, in spite of this whimsical comparison. He well personified the countertenor as young virile male hero, particularly being skilled in the arias that showed off his agility and fiery, piercing upper register.

A fierce mob wife: Rodelinda at ENO

Review

While not a total work of feminist theatre, I do like seeing operas from the 18th century where women are shown as strong-willed characters in control of their own destinies and not being controlled by men. In fact, the plot is driven by how much the other characters of the opera need Rodelinda.

"A fascinating marriage of art forms": Kayoi Komachi

Review

In traditional Noh, there is far less in terms of story and action than you would expect in a Western-style play or opera. So much of the story is often based in metaphor, and the performers, rather than acting out a series of events, are conveying the essence of a story instead of enacting it.