Elza van den Heever and the MET Orchestra: A stunning all-Strauss program
Reviews
The "positive impact" of Community Created Performances
ReviewThe stories they shared were uniquely told yet, sadly, all too familiar in today’s social and political climate. Drawn from the performers' own lived experiences, messages of solidarity and discrimination, faith and dejection, success and failure were accented against that complex mosaic of a backdrop: Chicago.
In review: Il trovatore at Oper Frankfurt
Review"Balanced" is the emphasis here, with the infamous requirements of the four lead roles met by the quadfecta of Piero Pretti (Manrico), Elza van den Heever (Leonora), Brian Mulligan (Conte di Luna), and the very last-minute replacement for an ailing Tanja Baumgartner, mezzo-soprano Marianne Cornetti (Azucena), flown in from Pittsburgh just in time for Friday's dress rehearsal.
In review: Bandits in the Valley
ReviewThe short, opera-esque piece of theatre - by composer Benton Roark and librettist Julie Tepperman - happens in various locations around Toronto's Todmorden Mills, the historic location that beautifully serves the concurrent tales of George Taylor (whose paper mill celebrates its 25th anniversary), the traveling theatre troupe that specializes in Gilbert & Sullivan, and The Rift Rafters, the group of bandits.
In review: Stars of Lyric Opera
ReviewThe highlight of the evening for me was Matthew Polenzani and Anthony Clark Evans singing the famous tenor/baritone duet from Bizet's The Pearl Fishers. This was old-school opera glamour and Polenzani's elegant tenor found a lovely match in Clark Evans' rich, easy baritone. The Pearl Fishers, with Polenzani as Nadir, comes to LOC in a new-to-Chicago production at the end of November.
In review: "Sophisticated, precise fearlessness" at Wigmore Hall
ReviewThis year's Wigmore Hall Song Competition was a wonderful experience. The judges commented on the incredibly high standard of this year's performers. I completely concur. The level of music making was very refined and intelligent. It was wonderful to see a concert with such a wide range of repertoire performed by young musicians making bold and individual choices.
In review: Wigmore Hall Song Competition semi-finals
ReviewI loved the way all the competitors took care of the transitions between songs, whether waiting to allow a moment to land or to keep the story going as to not drop the ball during a dead silence. It all proves that the silence is just as important as the music.
In review: Collision at Grimeborn
ReviewThe fact is, that when the world doesn't actually end, this show still makes an audience member think, "What was the point of all that?" And while this response may have been desired by Schwitters and his dada contemporaries, this 21st century opera-goer was a bit confused.
In review: Sweat
ReviewIt's a story that confirms one's hunches about where their $12 tank tops come from, and one that addresses the unresolved truths that are sadly outweighed by the temptations of corporate profit and customer convenience ("If I don't buy it, someone else will."). The opera itself is a cross between an ensemble piece and a vaguely heroic story of one factory worker who fights for fair treatment.
In review: SOLT's Canadian double-bill
ReviewNight Blooming Cereus and A Northern Lights Dream have little in common except the fact that they're Canadian operas, set in the worlds of small-town Shakespeare, Ontario.
In review: Dead Man Walking at Miami Music Festival
ReviewThe audience was left with no question of Joseph De Rocher's guilt – but Sister Helen's resolute narrative transformed the convicted murderer into a man who is conflicted, complicated, and deeply human. In the final scene, De Rocher was administered the lethal injection, strapped upright to a gurney in imagery undoubtedly evoking a crucifixion. The audience, then, was left with questions: did De Rocher's death truly achieve justice? In admitting his guilt, did he open himself to forgiveness? Or were his horrible crimes simply unforgivable?