The same voice box produced the powerful German singing by Siegfried on stage and the delightful Texas drawl of Jay Hunter Morris in the interviews - I could easily believe him to be a reincarnation of Wagner’s famous 17 year old hero.
The divine words of the choir and Scarpia’s profane words are each sung to entirely appropriate music. When the two are perfectly balanced, the resulting dissonance creates an almost unbearable musical tension.
What a pair of characters - Carmen: flamboyant, sexy, strong-willed, domineering – yet potentially vulnerable; what an opportunity for a mezzo; tenor Don José: naïve country bumpkin at the start – insane murderer at the end.
The conductor raises his arms - our pulses quicken in anticipation - an opera is about to start - but wait! - the conductor’s arms do not descend; they remain upraised, poised, ready for action. The curtain rises in utter silence
Handel wrote the parts of Xerxes and his brother to be played by castrati who were a respected musical class in 18th century Europe but are now essentially extinct due to changing mores and natural selection
The advance program said that James Levine would be the conductor; the program at the theater door listed Fabio Luisi
Cilia’s Adriana Lecouvreur sounded vaguely familiar to me, so I assumed it would be classical opera, but I knew absolutely nothing about the composer or the plot. I was looking forward to being surprised - and what a wonderful surprise it was
Despite all of his past successes and his unbounded self-confidence, Don Giovanni is totally unfulfilled during the twenty-four hours of his life presented on stage - and it’s not for lack of trying
For a moment Anna Netrebko did not reply. She had been sitting relaxed with a smiling face. Her body straightened and stiffened. Her smile was replaced by a firm straight mouth. She said, simply, “I remind myself that I am a Queen.”
The air was electric when José Luis Moscovich, General Director (and Conductor) of West Bay Opera appeared on stage to welcome the audience to WBO's fifty-sixth season
“Unveiled” is Rohina Malik’s one-woman show about how and why five Muslim women living in the Western world choose to wear a traditional head covering, or hijab
There is little correlation between the historical Lucrezia Borgia and the title character of the opera Lucrezia Borgia - and even less between the real Lucrezia's bastard son Giovanni and opera Lucrezia’s long-lost son Gennaro
Heart of a Soldier is different from most operas. The Story is a biography of a current person, and it is by far the driving force of the opera; music, acting, scenery, lighting, etc. are important only in-so-far-as they enhance the story telling
I had never seen or heard Idomeneo before, but I knew I’d like it – I mean, it’s Mozart so what else do you need to know?
H.M.S. Pinafore hove into Mountain View this past weekend and it was immediately obvious that the “sober men and true” who sailed her were not exaggerating a bit when they sang, “Our saucy ship’s a beauty.”
Imagine, if you will, Agatha Christie, Groucho Marx, Noel Coward, and Richard Rogers all locked in a small room and told they can’t come out until they’ve written a new musical - Curtains"
The Broadway By the Bay’s production of Meredith Willson’s "The Music Man" is nothing but Cool
Pocket Opera's production of Mozarts' "Marriage of Figaro" with many stars who were familiar to me, was a delight
Why was the San Francisco Opera production of Wagner's "Ring Cycle" so great? Read on and find out
How Francesca Zambello, Director of the SFO Ring Series, manages two challenges which are not normally present in opera

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