Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Houston Grand Opera Orchestra

Zwei Frauen, zwei Welten – gegensätzlich präsentiert in einem einzigen, mehrstöckigen Bühnenbild. Eine der Welten ist das makellose, weiße Deck eines Schiffes der 1960er Jahre auf dem Weg nach Brasilien, und darunter, wo sonst der Schiffsrumpf sein könnte, befindet sich die graue, trostlose Welt von Auschwitz.

Mezzo-soprano Jamie Barton seemed to have a lot of fun taking up the role of Julia Child once again. 

The production is a disconcerting combination of cold metallic future and Neanderthal aesthetics – a startling pairing of humanity’s beginning and its end. 

Antonín Dvořák’s Rusalka, moving between the worlds and rooted in myth, is a shivering opera to experience with its opulent music and its fantastical plot. 

This production proves that even Mozart’s best-laid plans can be undone.

As part of the season of Scrooges and Santas, it’s a refreshing reminder of sweet simplicity in a complicated world.  

Re-imagining this opera with Prince Gremin as the show-stealer was no doubt a happy accident.

Houston Grand Opera’s season-opening production of the fiery opera does it right, from lighting to set to singing, and the end result is a stunning beginning to its season.

All five of the Houston Grand Opera’s performances of Die Walküre sold out immediately – more than 13,000 seats – and there are several good reasons why.