A dreamlike forest in an abandoned train station: The Cunning Little Vixen at West Edge Opera

Von Ilana Walder-Biesanz, 07 August 2016

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“the musical world of the forest was lush and engrossing”

Rezensierte Veranstaltung: Oakland Central Station, Oakland, am 7 August 2016

Janáček, Das schlaue Füchslein

West Edge Opera

Jonathan Khuner, Musikalische Leitung

Patrick Diamond, Regie

Christine Cook, Kostüme

Philip Skinner, Förster

Amy Foote, Füchslein Schlaukopf

Nikola Printz, Fuchs

Nikolas Nackley, Pfarrer

Joseph Meyers, Schulmeister, Fliege

Carl King, Háraschta

Deborah Rosengaus, Hund

San Francisco's Volti chorus

Piedmont East Bay Children's Choir

West Edge Opera’s Snapshots of the future

Jaime Robles, 25th February

The program presented excerpts from five new works in a riotously diverse selection, from an adaptation of the unfinished Fitzgerald novel, The Last Tycoon, to Death of a Playboy, an imaginary reenactment of Hugh Hefner’s funeral.

****1

Sex with a side of brilliant opera

Ilana Walder-Biesanz, 13th August

Thomas Adès’ Powder Her Face has plenty of sex written in, and West Edge Opera's production adds even more. But it's the music and drama that sell.

*****

The “other” Bohème delights at West Edge Opera

Ilana Walder-Biesanz, 20th March

Leoncavallo's rarely produced La bohème offers enchanting musical variety, delivered in a well-cast concert staging by West Edge Opera.

****1

Opera Medium Rare presents Rossini’s Zelmira

Jaime Robles, 17th February

West Edge Opera has come up with a means to engage and develop opera audiences in that home of West Coast radicalism, the San Francisco Bay Area.

***11

Monteverdis Poppea in Augsburg: Metapher moderner Machthaber

Michael Vieth, 7th April

Muss alte Musik langweilig sein? Das Staatstheater Augsburg unterstreicht mit modern gestalteter Inszenierung der Augen, Ohren und Hirn aufreizenden Monteverdi-Oper das unwiderstehliche Gegenteil.

****1

Parsifal an der Wiener Staatsoper: und es ward Licht im Gralsgefängnis

Snapdragon, 5th April

Die Inszenierung von Kirill Serebrennikov passt zwar nicht zur Atmosphäre, gesanglich – mit Klaus Florian Vogt in der Titelrolle – begeistert die Vorstellung jedoch umso mehr.

****1

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Ilana Walder-Biesanz

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.