Fractured legend of Camelia la Tejana jumbles reality and fiction

It takes some brashness (and perhaps just a little bit of megalomania) on the part of a composer to choose Macbeth, of all of the Bard’s plays, to set to music. As if one can ignore that in the hearts and minds of most listeners, Verdi had the first, last, and only word in musical adaptations of Shakespeare’s drama of bloody intrigue.

Is there a more exciting opera company than Long Beach Opera in Southern California – or even anywhere west of Santa Fe? With the Dorothy Chandler’s house company and even local opera outfits seemingly content with just cranking out production after production of the same three Puccini operas ad infinitum and often ad nauseum, it’s heartening to see a company that views opera not as a dusty museum

Les Arts triunfa con una deslumbrante Salomé, a la par que terriblemente humana. 

Andrés Salado dirige La traviata con buen equilibrio y riqueza orquestal, producción de la Fundació Òpera Catalunya en la que destacó Tina Gorina, por su naturalidad y dominio de la voz.

El Teatro de la Zarzuela recupera una ópera bufa de Manuel García en la que la gitanilla de Sabina Puértolas enamora.

Laurent Pelly y Gustavo Gimeno dirigen una encantadora producción de La novia vendida en la que todos los intérpretes extrajeron la mejor esencia de la música de Smetana.