En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Houston Grand Opera

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.

Two worlds occupied by the same two women and presented, jarringly, as a single multi-story set. One is the pristine white deck of a 1960s ship bound for Brazil, and beneath it, where the hull might be, is the grey grim world of Auschwitz.

Taking risks has mixed results in A Coffin In Egypt.