Ilana Walder-Biesanz is a product manager for Yahoo, a theatre and opera critic, and a classically trained mezzo-soprano. She explored theater and opera stagings as a Gates Scholar at Cambridge and as a Fulbright Scholar in Germany. She currently writes for Bachtrack, San Francisco Classical Voice, and Stark Insider. Twitter: @ilana_wb.
San Francisco Opera's Die Walküre overcame a disappointing first act, winning the audience over with excellent singing and playing and impressive stage effects.
Written on Skin is a cold but effective opera full of musical and dramatic energy. Opera Philadelphia's new staging and talented young cast do it justice.
A modern Mahagonny rises and falls in Mannheim, brought to life by a great cast of singer-actors and a conductor (Benjamin Reiners) and orchestra who celebrate Weill's catchy score.
A muddled staging of Mozart's Lucio Silla in Kassel was made worse by two sicknesses in the cast (with one role cut entirely as a result). The orchestra and singers still made beautiful music.
Propora's Mitridate at Schloss Schwetzingen lacks dramatic sense (blame librettist Cibber and director Spirei). But exciting music strongly delivered makes a case for more Porpora in the repertoire.
Director Peter Konwitschny's staging of Cherubini's Medea critiques rejection and mistreatment of refugees. A strong new German translation and a talented cast make this a must-see.
Baritone Kay Stiefermann steals hearts at the eponymous Count of Luxembourg, in an operetta so charming that neither musical missteps nor a mixed-up staging can sink it.
Ian Bostridge and Wenwen Du deliver Schubert's song cycle with great musicianship, but Bostridge lacks the presence that makes live performance a special treat.
Il ritorno d'Ulisse in patria, the second opera of the Monteverdi 450 trilogy being toured by Sir John Eliot Gardiner, had a strong performance in Salzburg.
