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Performer: Erin Morley

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ViennaAriadne auf Naxos

Strauss R.: Ariadne auf Naxos
Bertrand de Billy; Sven-Eric Bechtolf; Vienna State Opera; Rolf Glittenberg; Marianne Glittenberg; Lise Davidsen; Erin Morley
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A spirited Midsummer Night’s Dream at the Wiener Staatsoper

Lawrence Zazzo (Oberon) and Erin Morley (Tytania) © Michael Pöhn | Wiener Staatsoper GmbH
Countertenor Lawrence Zazzo is more than at home in the role of Oberon, and possesses a vocal quality ideal for the scheming king of the fairies, simultaneously eerie and seductive.
****1
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Candide channels Ferris Bueller’s Day Off in Philadelphia

Erin Morley, Yannick Nézet-Séguin and Amanda Lynn Bottoms © The Philadelphia Orchestra
Yannick Nézet-Séguin and Kevin Newbury see Candide as a coming-of-age story, placing it in their own high-school years, specifically 1992, making Westphalia a USA knockoff.
****1
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Faith and anguish: Carmélites at the Met

Erin Morley (Constance) and Isabel Leonard (Blanche de la Force) © Ken Howard | Met Opera
An unforgettable evening at the Met as John Dexter's production of Poulenc's masterpiece is revived to close the season. 
****1
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Glittering Candide: a celebration at Carnegie Hall

Erin Morley (Cunegonde) © Chris Lee
Candide is a witty satiric fable, intelligent, literary but not to a fault, and vastly entertaining. Created by a team of collaborators who fell out at different times in the work’s 52 year history – at one point or another, Lillian Hellman, Richard Wilbur, John Latouche, Dorothy Parker, Stephen Sondheim and, of course, composer Leonard Bernstein had a hand in it – it is unique in the operatic or
*****
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Stunning Candide from LA Opera

Kelsey Grammer (as Voltaire) © Ken Howard
Whether it’s half an opera, three quarters an operetta, or a musical and a half, Francesca Zambello’s team put together a production that was easy to fall in love with. 
****1
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Grigòlo stars as Debus leads thrilling Hoffmann at The Met

Vittorio Grigòlo (Hoffmann) © Marty Sohl | Metropolitan Opera
Bartlett Sher's production of The Tales of Hoffmann, revived at The Met, takes a Kafka-esque, surreal view of the opera.
****1
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