REVIEW: Tales of the Citrus: Love for Three Oranges at Festival O19 (for Parterre Box)
Once again, the audacious Opera Philadelphia folks are playing without a net.
REVIEW: Quando le serre senza Placido: Philadelphia Orchestra’s Opening Night (for Parterre Box)
Domingo was out and Audra was in, as the Philadelphia Orchestra opens its season. Cameron and David were there…
REVIEW: Die Tote Stadt at Bard, and Leon Botstein’s Korngold Project
Did Bard’s Festival raise our sense of the composer’s classical works? Yes and no.
REVIEW: Trial by Korngold: Concert at Bard SummerScape (for Parterre Box)
The biggest problem here was sensory overload.
FOLLOW-UP: More Thoughts on Daniel Fish’s Oklahoma!
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.
REVIEW: We’ve Been Through the Mill: Moulin Rouge! on Broadway (for Parterre Box)
For all of its winking loucheness, the show is utterly devoid of any real suggestion of sex.
REVIEW: Maid in America: Maid of Orleans at Russian Opera Workshop (for Parterre Box)
A thrillingly full-throttle rarity, with much to celebrate in the fine singing here.
REVIEW: Sweeping Down the Plains: Oklahoma! on Broadway (for Parterre Box)
Within minutes, something wonderful happened, and none of my reservations mattered.
REVIEW: From Russia with Love: Iolanta at Russian Opera Workshop (for Parterre Box)
A radiant performance showcased the exceptional work done here by gifted young singers.
reclining standards 