Chas Rader-Shieber’s conflation was simultaneously over-conceptualized and insufficiently thought through.
Two final events at O18 sum up the wonders of this extraordinary festival.
Blythe’s virtuosity actually anchors the show to opera; Martha not so much.
Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.
If only Donizetti’s Lucia di Lammermoor, a setting of Walter Scott’s gloomy novel in which the heroine is traded like a piece […]
The two-part evening starts arch, but ends in triumph.
In a delightful song program, Ashley Robillard and Siena Licht Miller show exceptional promise.
It would be hard to imagine a better metaphor for O18 than this poignant new opera.
Warmth, humor, and joyful out-and-proud-ness dominate the mood, yet there is considerable darkness in Mac’s view of both past and present.
A particular tension—between angry political resistance, and gloriously buoyant queerness—fuels TM24’s immense energy.