Robert Carsen’s 28-year-old production comes to America. It was worth the wait.
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.
How do you like your Carmen? The role – and Bizet’s opera – contain multitudes.
Without its companion pieced, Trouble in Tahiti, this difficult late work feels like half of an opera.