"As the third part of the story’s love/power triangle, Susanne Mentzer emphatically held her own as the determined, staunch, till-death-do-us-part wife Augusta Tabor. To her great credit, Ms. Mentzer finds every cranny of nuance in an often unsympathetic personage. She wisely invests the role with as much dignity as outrage, balancing the overt self-righteousness with an abiding sense of loss.She is an attractive woman, her handsome bearing able to suggest severity as well as
"...Matthew Vickers as Fritz had ardency and a clear tenor on his side." -Boston Globe Read full review. "...Fritz, sung richly and forcefully by tenor Matthew Vickers..." -Boston Musical Intelligencer Read full review.
"...Matthew Vickers as Fritz had ardency and a clear tenor on his side."
-Boston Globe Read full review.
"...Fritz, sung richly and forcefully by tenor Matthew Vickers..." -Boston Musical Intelligencer Read full review.
"The production was staged by director John Hoomes, who is never short on ideas. The Schirmer English translation was employed, and while—let’s be honest here—many of its jokes are real groaners, Hoomes minimized eye-rolling by celebrating banality instead of fighting against it. The results lacked Viennese elegance but brought some big, honest laughs. There was some entertaining stage business for Frosch (given a nice comic turn by actor Bill Theisen) and a funny sneezing bi
"The young Metropolitan Opera baritone Edward Parks, also making his DMMO debut, sang the important role of Alice Ford’s rich and jealous husband with suave assurance."
-Des Moines Register Read full review.
"Handsome Edward Parks made the most of his beautiful russet-brown baritone in Ford’s Act II narrative [Falstaff]. . . Susannah Biller’s lovely lyric soprano made for a comely, sympathetic Eurydice [Orphée et Eurydice]; no doubt several men in the audience would have braved hell for her. . . Kristine McIntyre’s meticulously crafted production of Massenet’s Manon was graced by a brace of principals who displayed extraordinary dramatic commitment. . . .This Manon was the most c
“Stealing the evening, though, was Christian Zaremba as the dancing master, Passagallo. Zaremba already stood out this summer, vocally and dramatically, as Collatinus, the husband in the stark, tragic “The Rape of Lucretia.” For “L’Opera Seria,” he donned bandana, sweats, leg warmers and a dancer’s floating gait, and, dragging nervously on a cigarette, fussed over every detail of the performance and came up with artistic “inspirations,”... Zaremba has the comedian’s gift of
"Of note in the comprimario roles was Jesse Blumberg as Njegus, the Pontevedran charge d’affairs (more or less Baron Zeta’s butler). As World War I approached in the Boston Lyric’s apocalyptic vision, Blumberg’s Njegus came to embody Europe’s willful ignorance, waltzing and singing in the empty dining room while gunshots rang offstage." -Opera News Read full review.