REVIEW: Star-Crossed: The Met’s Dialogues des Carmélites in HD (for Parterre Box)
Does this legendary production, seen in close-up, retain it’s greatness? Yes… and no.
REVIEW: Riding on Empty: Two One-Act Operas at Curtis (for Parterre Box)
As a cohesive evening of music drama, this ambitious double bill doesn’t quite add up.
REVIEW: All She Has To Do Is Dream: Lady in the Dark at Mastervoices (for Parterre Box)
To resurrect this astonishing show at all in a brief time frame is almost miraculous.
REVIEW: Pigment of the Imagination: La Bohème at Opera Philadelphia (for Parterre Box)
A wonderful musical performance, hampered by a misguided production.
REVIEW: Easily Assimilated—Isabel Leonard Sings Bernstein at PCMS (for Parterre Box)
In their best moments, the mezzo and pianist Ted Sperling were near-ideal Bernstein-isti.
REVIEW: They Love a Piano: Don Giovanni at Curtis/Opera Philadelphia (for Parterre Box)
What R. B. Schlather’s visually arresting production has to do with the opera remains a mystery.
REVIEW: That’s How They’ve Done It: Cosi Fan Tutte at Academy of Vocal Arts (for Parterre Box)
Fine voices and musical values here far outshine a cliché-ridden production.
REVIEW: Adriana Lecouvreur at the Met (for Opéra Magazine)
Anna Netrebko and Anita Rachvelishvili shine especially bright in this worthy revival.
REVIEW: Dream a Little ‘Dream’: Britten’s Midsummer at Opera Philadelphia (for Parterre Box)
Robert Carsen’s 28-year-old production comes to America. It was worth the wait.
REVIEW: What’s Done Cannot Be Undine: Rusalka at Academy of Vocal Arts (for Parterre Box)
AVA’s Rusalka—a rare venture into the Slavic repertoire—left a divided impression.
reclining standards 