Musicals at Richter, Connecticut's longest-running outdoor theater, will present the Tony Award-winning musical 1776 to kick off its 42nd season at the Richter Arts Center in Danbury.
The Park Theatre in Jaffrey, NH announced its America 250 Cultural Fair, featuring films, a live variety show, historical document exhibits, and a Main Street cookout to mark the nation's 250th birthday.
I’d say that “If it ain’t broke, don’t fix it” is not a maxim that has ever been used for Puccini’s Chinese-inspired fairytale, TURANDOT, which returned for another go-around at the Met the other day with two alternating casts. (I saw it with Liudmyla Monastyrska, Roberto Alagna and Juliana Grigoryan in the main roles.)
The Met’s new production of Vincenzo Bellini’s I PURITANI made its debut on New Year’s Eve, but I caught up with it at its third performance on January 6. I was glad I did--because it offered a cast with staggering singing abilities in four major roles that offered major demands, along with at least one minor one and the brilliant Met chorus under Tilman Michael. Simply put, soprano Lisette Oropesa, tenor Lawrence Brownlee, baritone Artur Rucinski and bass-baritone Christian Van Horn sang the pants off their roles, with Marco Armiliato conducting the fearless Met orchestra.
The Metropolitan Opera has released production photos from its new staging of Vincenzo Bellini’s I Puritani, marking the company’s first new production of the opera in nearly 50 years.
As the houselights dim at the Metropolitan Opera, the Julie Taymor–directed The Magic Flute transports viewers into a buoyant and kaleidoscopic fairy-tale dreamworld. This abridged, English-language production is a visually sumptuous version of Mozart's singspiel bathed in bold primary colors, shaped by ingenious Masonic-inspired geometric staging, and animated by exquisite puppetry.
Mozart’s DON GIOVANNI was one of my first operas and remains among my favorites, despite its misogyny and the difficulty in putting together the kind of cast that can do justice to the string of show-stoppers in the score. The season's premiere of the opera had much to admire.
Mozart’s Don Giovanni: A Rock Opera at NYC’s iconic Cutting Room will take a brief hiatus as New York’s summer heat intensifies. Learn more about the production here.
This summer, the curtain rises—and the volume cranks—on a whole new Don Giovanni at New York City’s famed Cutting Room. Get a first look at photos here!
Today’s subject Francesca Zambello is currently living her theatre life as the Artistic Director of Washington National Opera (WNO). She has been in the position since 2012. Her production of Porgy and Bess begins performances this evening in the Opera House at Kennedy Center where it will play through May 31st.
Today’s subject S. Katy Tucker is currently living her theatre life as the projection designer for Washington National Opera’s (WNO) production of The (R)evolution of Steve Jobs. The production runs May 2nd through 10th in the Opera House at Kennedy Center.
I must admit that the Met’s current revival of IL TROVATORE--with RIGOLETTO and TRAVIATA, considered the great creations of Verdi’s middle period--made me think of another masterwork, “A Night at the Opera,” my favorite of the movies by those champions of silliness, the Marx Brothers.
The Metropolitan Opera’s 2024–25 Live in HD season will continue with two-time Tony Award–winning composer Jeanine Tesori and librettist George Brant’s new opera, Grounded. Learn more about the opera and see how to watch!
A match made in heaven? Girl meets boy. Girl meets baby. Girl meets drone. Girl meets court-martial.
Jeanine Tesori and Director Michael Mayer's production of Grounded, based on librettist George Brant’s acclaimed play, is now on stage at the Met Opera. Check out all the reviews.
Soprano Lise Davidsen will sing her first Tosca at the Metropolitan Opera, opposite tenor Freddie De Tommaso, who will make his Met debut, as David McVicar’s production of Puccini’s Tosca returns to the Met. Learn how to purchase tickets.
Considering all the productions in the Met’s repertoire that have been conceived (or, perhaps more justly, concocted) by directors from other media who don’t seem to understand or like opera, Mark Morris is a gem. So is his concept for Gluck’s ORFEO ED EURIDICE, the myth of a man who is permitted to go to the land of the dead to retrieve his beloved wife, which was seen in a revival that opened the other night with countertenor Anthony Roth Costanzo and soprano Ying Fang in the title roles.
Puccini’s passionate love story La Rondine will make a rare Met appearance. Learn how to purchase tickets!
Seattle Opera has unveiled its 2024/25 season. Learn about the productions and see how to purchase tickets!
Sometimes you hear a singer who embodies a role so completely that it’s hard to imagine her in anything else. That’s how I felt about the wonderful mezzo Aigul Akhmetshina, who’s singing the title role in the Met’s new production of Bizet’s CARMEN, which I saw at its second performance. Her portrayal was as full-bodied as her voice and she sizzled, filling up the stage as much as one can imagine. It’s little surprise that she’s considered the Carmen of the moment, having appeared in seven other productions (with two to come).
