"It is no secret that I have enjoyed listening to Gustav Andreassen’s turns on the Brown Theatre stage and his Osmin is no exception. With a bass score that plunges into the farthest reaches of a bass voice, he often hit that sweet spot with the Louisville Orchestra where his ability to project such a low note was in balance with the musicians. Thank you to Conductor Joseph Mechavich, who has the ability to detect when the reigns may need to be pulled back a little bit. Mr. A
"Spanish mezzo Montiel in her FGO debut, appearing with a fall of untamed hair and a defiant décolletage, credibly portrays a woman who would choose death over the loss of independence. The audience members are goners the moment that saucy voice launches into the iconic melody of "Habanera" as if she were pouring some rich thick liquid from a silver chalice. Exuding a joie de vivre, Montiel's Carmen impudently rolls consonants as if her tongue were savoring a gourmet dish. Ev
"As soon as she awoke from her deep sleep and uttered her first notes, it was clear that Mithra Mastropierro’s Brünnhilde would be something very special. The soprano communicated with a powerful but sumptuous tone, able to soar easily over an orchestra playing at full throttle. Her tender “Ewig war ich, ewig bin ich,” in which Brünnhilde tells Siegfried of her great love for him, was beautifully felt. She is clearly a star on the rise."
New York Chronicle, Music: Jane Eyre by Louis Karchin "[Louis Karchin] tells the story through the orchestra, as much as the singers, with their words. This is a symphonic opera as much as a vocal one. Karchin writes like a man who has lived with opera, although Jane Eyre is only his second opera, and his first full-length one. Ah, well: Beethoven wrote just one opera. So did Gershwin. In the Kaye Playhouse, Jane Eyre was served by a very good production, overseen by the dir
"Under the stage direction and production concept of Brian Staufenbiel, Minnesota Opera’s production involves a layered mixture of medieval, steampunk, and retrofuturist imagery, with, for the most part, a light enough touch to avoid overwhelming the audience with dense imagery over Wagner’s already dense score.” -Twin Cities Arts Reader Read full review.
"Romeo may get top billing in the title, but Madison Opera’s latest production is all about the girl. . . Emily Birsan’s Juliet is a lusty, energetic teenager, giddy in love and intensely passionate. With her nurse (Allisanne Apple) she’s confident and headstrong. On stage, she draws the light. And on Gounod’s waltzes and arias, Birsan’s coloratura soprano sparkles brighter than the “inconstant moon” hanging over Juliet’s balcony. . . Birsan’s performance of “Amour, ranime mo
"Written for four of the great singers of that time, “Don Pasquale” has big vocal demands in every role — and Sarasota Opera’s singers certainly rose to the challenge. Marco Nistico was singing his first Pasquale, and even though he lacked a bit of basso heft in his hearty baritone, he was completely convincing as the old codger. . . Both Dabi and Nistico were outstanding in the machine-gun patter of their Act 3 duet, which received a welcome encore — cleverly added to the st