In a highly effective stage presentation, the Minnesota Opera tells Jules Massenet’s story of two personalities whose spiritual journeys are like two ships passing in the night.
François de Carpentries’ Oslo production of The Barber of Seville is back for its fourth revival. The singing ranges from the uninteresting to the outright excellent, but the production can still provide a thoroughly entertaining evening at the opera.
Joseph Calleja and Anna Netrebko show off their vocal qualities, leading a star cast above an uninspiring orchestral performance in John Copley's Royal Opera production of La bohème in what is to be its last season.
The Met's new production of Cav and Pag boasted strong musical performance, but its production, despite some interesting ideas, was not completely successful.
The final production of the San Francisco Opera’s fall season was a new staging of Rossini’s Il Barbiere di Siviglia, advertised everywhere as The Barber of Seville.
This past Saturday night at the Lyric Opera of Chicago, opera superstars Anna Netrebko and Joseph Calleja successfully transformed an otherwise ordinary, four-star La Bohème at the Lyric into an extraordinary, five-star experience.
On Monday night – and, one might guess from the way the opera crowd gripped their collars as they swept into the Civic Opera House, the coldest night in Chicago this winter – a new La Bohème opened at the Lyric (it’s on loan from the San Francisco opera).
There's no such thing as a perfect comic opera, and I know it's wrong to describe any work of art as perfect. But seeing Mozart and da Ponte's Le Nozze di Figaro last night, I found this a difficult principle to accept: this opera is about as close as you can get.Many operas have a slew of memorable tunes; many have opportunities for singers to show off their qualities.
La directora Yi-Chen Lin fue, junto con Simón Orfila, la mayor baza para levantar esta producción que ha ofrecido el Festival de Verano de El Escorial.
La mise en scène de Marco Arturo Marelli et Enrico De Feo se veut fondamentalement ancrée dans le contexte historique de la création de l’œuvre mozartienne.
