Opera Atelier's return to the earliest part of the repertoire with Monteverdi's Il ritorno d'Ulisse in patria showcases their strengths in a relatively restrained production anchored by a strong ensemble cast.
At La Scala, Milan a disappointing tribute to Giorgio Strehler's historic staging of The Marriage of Figaro by young English director Frederic Wake-Walker.
Opera Atelier’s latest production mixes traditional-specific touches the company is known for, and more high-concept inclusions. The results are mixed — but the singing is spectacular.
New York is again lucky to host William Christie and Les Arts Florissants at the Brooklyn Academy of Music. Their visits are always special, and it’s not just because the unique nature of their repertory – Baroque opera, usually French, which is neglected by most of New York’s major companies – nor the virtuosic ease with which they embody this otherwise-foreign idiom.
Opera Atelier has made its reputation as a producer of 17th- and 18th-century operas for more than a quarter of a century, based at the elegant Elgin Theatre in Toronto since 2000. This year it has made a leap into another era and another century with a gorgeous production of Carl Maria von Weber’s Der Freischütz.
Avant-dernière œuvre d’Haendel et seul de ses oratorios fondé sur un sujet chrétien, Theodora apparaît également comme le testament musical d’un musicien au crépuscule de sa vie. Cette nouvelle production retranscrit avec justesse son esprit tout en en modernisant la lettre.
