Congratulations to ADA Artists Susanne Mentzer, mezzo and Joseph Mechavich, conductor for their participation in the Florentine Opera recording of "Wuthering Heights" and to Victoria Livengood, mezzo and Scott Scully, tenor for their participation in Los Angeles Opera's "The Ghost of Versailles"!
"Chaowen Ting (USA/Taiwan) conducted gracefully. . . She was considerably more involved and specific in the lively "Era eguale la voce" from Puccini's Gianni Schicchi--much abetted by fabulously dramatized singing by baritone Marco Nisticò. . . Nisticò and mezzo Catherine Martin were the real standouts among the singers, with powerful and expressive voices and utter command of the stage." -Dallas Morning News
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"mezzo Catherine Martin as they gave the aria “
"Not only was this its first full Verdi opera, but also the performances of the two outstanding leads — the baritone Craig Irvin and the soprano Elizabeth Baldwin — were so strong that perhaps for the first time, the how and where of the event receded into the background. . . Mr. Irvin’s Macbeth underwent a reversed process: from a conflicted, eminently human character at the start of the opera, one whose voice contained subtle inflections of doubt and hope, to a steely, sing
"For classical music fans in Nashville, the last couple of weeks have represented an embarrassment of riches with two wonderful concerts from the Nashville Symphony and a tragic, heartbreaking production of Tom Cipullo’s contemporary opera Glory Denied from the Nashville opera....
...However, the highlight of the month, and perhaps of the season, was the Nashville Opera’s Veteran’s Day production of Glory Denied at the intimate Noah Liff Opera Center. The work is a chamber o
"Strong representation from the West this year includes Los Angeles Opera’s recording of John Corigliano’s wonderful Figaro fantasy, “The Ghosts of Versailles,” . . . L.A. Opera’s “Ghosts” also captured a nomination for engineered recording" -LA Times
"The evening’s real strengths proved to be . . . Matthew Burns as Dr. Bartolo, who in this production, and thanks to Burns’s strong performance, became the comic focus. Bartolo was reimagined as a stuffy eye doctor with a penchant for chickens (why chickens? well, why not?), and Burns sang him so well that he consistently dominated the evening and emerged as a foil for Rosina’s spunkiness. In the music lesson scene, when he got up to sing Rosina an aria made famous by a castr