WNO's Samson et Dalila shows how sweet love's poison can sound

Par Sydney Boyd, 02 mars 2020

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“the third act Bacchanale struck thrilling tempos and sexy phrasing”

Critique faite à Kennedy Center: Opera House, Washington, le 1 mars 2020

Saint-Saëns, Samson et Dalila

Washington National Opera

John Fiore, Direction

Peter Kazaras, Mise en scène

Erhard Rom, Décors

Michael Scott-Mitchell, Costumes

Roberto Aronica, Samson

J'Nai Bridges, Dalila

Noel Bouley, Grand Prêtre de Dagon

Tómas Tómasson, Abimélech

Peter Volpe, Le Vieil Hébreu

Eric Sean Fogel, Chorégraphie, Associate Director

Robert Wierzel, Lumières

S Katy Tucker, Projection Design

Washington National Opera Chorus

Washington National Opera Orchestra

Washington National Opera marches onward with a joyous Treemonisha

Sam Jacobson, 15th March

A vibrant new production of Scott Joplin’s Treemonisha at Washington National Opera underscores the opera’s enduring message of education, community and social justice.

****1

A #metoo Don Giovanni at Washington National Opera

Sydney Boyd, 29th February

Lots of people talk about keeping opera relevant. WNO shows why this opera always has been.

****1

Washington National Opera's merry take on Mozart's Magic Flute

Sydney Boyd, 2nd November

Could The Magic Flute be the next Nutcracker? A child-friendly take on the classic in a mash-up of pyramids and petticoats.

***11

Russell Thomas shines in gloomy David Alden's Otello

Vishnu Bachani, 26th October

The combination of a strong, spirited cast and a first-rate orchestral performance led by Daniele Callegari rendered the opera a moving experience in spite of drab staging and latent, unexplored tensions.

***11

Venera Gimadieva leads a moving Traviata in DC

Ako Imamura, 21st October

A strong new Traviata from Washington National Opera with the welcome house debut of Venera Gimadieva as a fabulous Violetta.

****1

Musically resplendent Don Carlo in Washington

Edward Sava-Segal, 3rd March

The team of soloists, the chorus and the orchestra, under the baton of Philippe Auguin, powerfully conveyed the spectacular qualities of Verdi's Don Carlo.

****1

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Sydney Boyd

Sydney Boyd is an arts writer, scholar, and violinist. She has been a music critic in Houston since 2012 and is the blog author of Girl at the Opera. She has a Ph.D. in English literature from Rice University, where she currently holds a post-doctoral Spatial Studies fellowship in the Humanities Research Center.