Albert Herring earns the crown at Curtis Opera Theatre

Par Cameron Kelsall, 06 mars 2020

Chargement en cours, veuillez patienter...

Voir le listing complet

“Eve Summer piquantly captures the state of life in an insular English village”

Critique faite à Kimmel Center, Perelman Theater, Philadelphia, le 5 mars 2020

Britten, Albert Herring

Curtis Opera Theatre

George Manahan, Direction

Eve Summer, Mise en scène

Julia Noulin-Mérat, Décors

Ethan Burck, Albert Herring

Ruby Dibble, Mrs. Herring

Merissa Beddows, Lady Billows

Anastasiia Sidorova, Florence Pike

Lindsey Reynolds, Miss Wordsworth

Andrew Moore, Mr Gedge

Colin Aikins, Mr Upfold

Thomas Petrushka, Superintendent Budd

Ben Schaefer, Sid

Sophia Maekawa, Nancy

Miloš Repický, Piano

Members of the Curtis Symphony Orchestra

Curtis Opera Theatre does Barbiere... and Rossini wins

Susan Gould, 22nd November

In Barbiere, the humor is constantly in the music So this staging was best when the director didn't impose anything but followed and respected the text and especially the music.

***11

Mozart's Don Giovanni overwhelmed by pianos

Susan Gould, 8th March

Curtis Institute singers and orchestra rescue Mozart's Don Giovanni from being overwhelmed by pianos.

**111

Curtis Opera Theater's Ariadne auf Naxos

David Browning, 4th March

Just sit right back and you'll hear a tale about a great conservatory production of Ariadne auf Naxos, with wonderful singing and visual delights aplenty.

****1

Odyssey Opera presents Menotti’s The Last Savage

Kevin Wells, 13th March

Odyssey Opera makes a convincing case that The Last Savage’s time has come.

*****

Siegfried et l’art du chant au Théâtre des Champs-Élysées

Pierre Michel, 19th April

Pour ce troisième volet du Ring proposé en version de concert par Yannick Nézet-Séguin et l'Orchestre philharmonique de Rotterdam, c'est le plateau vocal qui brille avant tout, éclipsant l'orchestre et le chef.

***11

Michael Fabiano fait trembler le Capitole dans Otello

Arnaud Saura-Ziegelmeyer, 14th April

Pour ses débuts à Toulouse, le ténor américain se distingue dans le rôle-titre de l'ouvrage verdien. Mise en scène, plateau vocal et fosse s'associent parfaitement pour livrer la quintessence du drame.

*****

Plus de critiques...

Cameron Kelsall

Cameron Kelsall is a classical music critic and cultural reporter. He has written for Bachtrack since 2019, and his byline has appeared in many national and international classical music publications. Based in Philadelphia, he regularly travels around the United States for musical events. In addition to his career in journalism, Cameron also teaches in the Theatre Arts program at the University of Pennsylvania. He is also a certified sommelier and avid home cook. His favorite composer is Mahler. Twitter: @CameronPKelsall.