Emmanuel Labor: Two Messiahs in Philadelpha (for Parterre Box)
Two highly satisfying evenings, more evenly drawn than I had expected.
REVIEW: Marilyn Maye Scores a Home Run at Dino’s Backstage
Singing doesn’t get better than this.
Razors, Edge: Sweeney Todd at Curtis Opera (for Parterre Box)
Ensemble coordination is this production’s greatest achievement, along with some fine individual contributions.
REVIEW: Tales of the Unexpected: Suor Angelica and Le Villi at Academy of Vocal Arts (for Parterre Box)
A mixed bag of a production, but some singing of significant promise.
REVIEW: Hello Again, Gorgeous!: Funny Girl with Sheridan Smith (for Parterre Box)
Trafalgar’s enjoyable filmed stage production preserves a star turn that should be seen.
REVIEW:Trouble in Paradise — Double-Bill at Curtis Opera (for Parterre Box)
Chas Rader-Shieber’s conflation was simultaneously over-conceptualized and insufficiently thought through.
REVIEW: Glamour, Reconceptualized: the Final Day of O18 (for Parterre Box)
Two final events at O18 sum up the wonders of this extraordinary festival.
REVIEW: When Queens Collide: Queens of the Night at O18 (for Parterre Box)
Blythe’s virtuosity actually anchors the show to opera; Martha not so much.
REVIEW: Dramatic A.R.C.: Glass Handel at O18 / Opera Philadelphia (for Parterre Box)
Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.
REVIEW: Dark Shadows: Lucia di Lammermoor at O18 / Opera Philadelphia (for Parterre Box)
If only Donizetti’s Lucia di Lammermoor, a setting of Walter Scott’s gloomy novel in which the heroine is traded like a piece […]
reclining standards 