This superb chamber-sized two-hander has a monumental, shattering impact.
Once again, the audacious Opera Philadelphia folks are playing without a net.
Domingo was out and Audra was in, as the Philadelphia Orchestra opens its season. Cameron and David were there…
Did Bard’s Festival raise our sense of the composer’s classical works? Yes and no.
The biggest problem here was sensory overload.
Although I saw this provocative production a month ago, I continue to think about it.
REVIEW: A Grandeur Night for Singing: Yannick Nézet-Séguin’s Zauberflöte Recording (for Parterre Box)
The maestro captures superbly this work’s complex mix of diverse elements.
For all of its winking loucheness, the show is utterly devoid of any real suggestion of sex.
A thrillingly full-throttle rarity, with much to celebrate in the fine singing here.
Within minutes, something wonderful happened, and none of my reservations mattered.