Atsuko (Ako) Imamura is a retired investment banker in New York City. Born in Japan, she trained as cultural anthropologist in the US before turning to finance. She now spends her time attending opera and classical music concerts in New York and in Europe. Wagner is her favorite opera composer.
The Hungarian State Opera presents a new modern production of Don Carlo by a director who depicts the historical cruelty as very much present in our world today.
Dmitri Tcherniakov updates the "German Romantic Opera" into a modern-day thriller with interesting twists in a musically splendid performance in Munich.
Opera North performed a semi-staged and shortened Fidelio with a committed group of soloists, chorus and orchestra led by Mark Wiggelsworth. With a pared Orchestra, the opera came across as a hymn of hope.
The Bayerische Staatsoper's new production of Falstaff makes the mistake of turning a comedy into a slapstick, but the fine ensemble have the last say as they stand in silence and defiance to face the empty auditorium.
Shortened and simplified to adapt to restrictions, David Bösch's 2016 production succeeds in bringing Mozart's brilliant opera to a modern setting with a splendid cast of singers.
François Girard’s production presents the moody, stormy atmosphere of Norwegian seascapes with stunning visuals, but offers few fresh ideas on the doomed love between the Dutchman and Senta.
The Opéra Royal de Wallonie-Liège takes a risk in mounting a new, but traditional production of the more rarely heard French version of Verdi’s DonCarlos andsucceedswitha great ensemble of singers.
Deutsche Oper Berlin’s new production of A Midsummer Night’s Dream is a delightful and whimsical homage to Britten’s masterpiece. The orchestra, soloists and children’s chorus performed with energy and charm under the baton of Donald Runnicles.
Michael Mayer’s colorful and busy production of La traviata returned to the Met with a triumphant performance of the title role by soprano Aleksandra Kurzak.
The Met revives Robert Carsen's updated production of Der Rosenkavalier with a strong cast led by Camilla Nylund. Sir Simon Rattle led the Met Orchestra in an inspired and detailed reading of the score.
The young soprano Lise Davidsen scored a successful debut at the Met, with impressive support by conductor Vasily Petrenko, also making a debut, led a memorable revival of Pique Dame.
A semi-staged performance of the two early 20th-century modernist works at the New York Philharmonic featured excellent soloists, great production and an inspired orchestra led by Jaap van Zweden.
Laurent Pelly’s darkly stylish production of Manon is revived with a strong cast of singers. In the title role, Lisette Oropesa demonstrated elegant and incisive singing, while Michael Fabiano was her virile and powerful partner.
Daniel Barenboim conducts much of Siegfried as an intimate chamber opera, resulting in an unexpected musical joy, with an excellent cast of singers headed by Michael Volle’s Wanderer.
The Staatsoper Berlin celebrate the arrival of Michael Volle, a splendid Wotan, aided by a strong ensemble of singers and Daniel Barenboim's leadership.
Daniel Barenboim led a performance of deliberate tempo with a great ensemble of singers. Guy Cassiers‘ production, while visually stunning at times, does little to enhance the performance.
Deutsche Oper Berlin's revival of Manon Lescaut achieves a rare theatrical success; a witty and visually stunning production combined with thrilling music making in the pit with Sir Simon Rattle leading the orchestra and singers with emotional urgency.
Juan Diego Flórez was impressive in his first portrayal of a lovesick soldier/priest in Manon, with Nino Machaidze's accomplished heroine. Andrei Serban's modern and thoughtful production was still fresh and arresting.
