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.
REVIEW: Lenny and God: Philadelphia Orchestra’s Music of Faith (for Parterre Box)
Together, Bernstein’s Kaddish and Rossini’s Stabat Mater made for one of Philadelphia Orchestra’s finest concerts in recent memory.
REVIEW: Romance Holiday: Russian Romances at Academy of Vocal Arts (for Parterre Box)
A charming and unusual song program showcased AVA’s rising group of singers.
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.
reclining standards 