REVIEW: A Divided Duty: Rossini’s Otello at O22 (for Parterre Box)
In bel canto opera, virtuosic singing IS the drama. Accept that, and O22’s OTELLO pays off thrillingly.
REVIEW: As The Raven Flies — Festival O22 Begins (for Parterre Box)
In THE RAVEN, Festival O’s characteristic imagination and audacity remain front and center.
Silent Treatment: DF reviews Strauss’s Schweigsame Frau at Bard (for Parterre Box)
A lovingly restored version of Strauss’s opera reveals that sometimes cuts are for the best.
‘Big D’ Energy: David and Cameron Review Most Happy at Williamstown and Sound of Music at Glimmerglass
Two celebrated 1950s musicals get strikingly dissimilar festival productions this summer.
Grand Passion: Rigoletto at Opera Philadelphia (for Parterre Box)
The collective audience sigh of joy that greeted the opening chords signaled success from the start.
Stained Class: Lucia di Lammermoor at the Met (for Parterre Box)
The undisputed cause célèbre here — for better or worse — is director Simon Stone.
Shining Hours: Kevin Puts’ New Opera at the Philadelphia Orchestra (for Parterre Box)
Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music, it’s cordon bleu.
Worth the Wait — Ana Maria Martinez in Recital at PCMS (for Parterre Box)
Martinez is an artist of the first caliber, which was richly evident throughout this imaginative, substantial program.
A Philly That Is Ready for the Race: Opera Philadelphia Announces the 2022-23 Season (for Parterre Box)
I felt a surge of joy learning the Festival O will return in September.
Doing Something Right: DF reviews Eugene Onegin at Academy of Vocal Arts (for Parterre Box)
Two young casts due justice to Tchaikovsky’s opera — and bring honor to the Academy of Vocal Arts.
reclining standards 