"Maestro Joseph Colaneri, the current music director of the Glimmerglass Opera Festival, conducts, eliciting especially fine and precise yet playful sounds from the score’s many modes: lush passages, light arrangements or even solo instrumentation. The shift in time and place would be thoroughly irksome if the classical bones weren’t strongly intact, and this Colaneri ensures masterfully." -Atlanta Journal-Constitution Read full review.
"Soprano Emily Birsan possibly achieved the finest work yet seen from this young singer. Her voice was bright and glittering in the coloratura of “Je veux vivre” and she displayed surprising body in her middle register for the potion aria. Juliette’s developmental arc from buoyant teen to tragic heroine was capitally rendered. The pair blended delightfully in the score’s unusual bounty of four extended duets. Sidney Outlaw essayed a mischievously animated Mercutio, with a lov
“The young American bass-baritone Calvin Griffin, as Arenas’s nemesis Victor, also turned in a terrific performance. He has a big, commanding instrument that he can use with real menace. He was at all times the rigid ideologue and unchecked power glutton, except for one moment of tenderness as he talked about the beauty of Arenas’s writing before burning the writer’s latest manuscript, stolen from his apartment, in front of him. . . Javier Abreu, a Puerto Rican tenor who made
"As Leporello, bass-baritone Joseph Barron was an audience favorite, offering a portrayal as humorous as it was richly sung. It is a shame that his aria “Ah pietà signori miei” was omitted. Missing also was “Dalla sua pace”, another artistic miscalculation as tenor Tyler Nelson was a sweet-voiced Don Ottavio, and would have scored in that aria, as he certainly did with an excellent “Il mio tesoro.” . . . Mezzo-soprano Audrey Babcock, the unrelenting Donna Elvira, strode acros
"the Cuban-American soprano Elaine Alvarez, already heard last season in Ernani, prevails progressively in the role of Helene through to the very end of the performance, both on the strictly vocal level as well as in her expressive intensity: she offers a brilliant execution of the polonaise ‘Il respire! O transport!’ before arguing, in the great scene of the third act, ‘Que m’importe ma vie’, with beautiful piano coloring, even in the extreme high notes."
- Emmanuel Andrieu
"As with any opera, the vocal talent of the performers determines the success of the show; the Annapolis Opera Company delivered. Slayden and Jacob Lassetter (Sharpless, the U.S. consul) maintained impeccable control of their voices. . . Calenos as Butterfly stole the show. Well-deserving of the title role, Calenos was brilliant, singing complicated arias seemingly effortlessly. Her talent did not go unnoticed. After Calenos hit a particularly impressive note, the man seated
"Rounding out the production musically were the fine chorus, prepared by Gregory Ristow, and the Oberlin Chamber Orchestra under Christopher Larkin, who expertly realized Massenet’s score, touching it with a special variety of fairy-dust." -ClevelandClassical.com Read full review.
"As usual, the Minnesota Opera fielded a top-flight cast and stellar production values. Central were. . . Susannah Biller’s sparkly, effortless soprano as Kitty; . . . Adriana Zabala, forthright as Lucy. . . Siena Forest (Paula), Brenda Harris (Carlotta), Craig Irvin (Dan) and Andrew Garland (Joseph) carried off their assignments with panache" -Wall Street Journal
Read full review. "All of the performers serve the story terrifically, with not a weak link among them. . . Sus
"His son, Manfredo, is portrayed by baritone Marco Nistico with the searing intensity required to project the agony of the jilted husband; tenor Matthew Vickers provides convincing power as the guilty lover, Avito"
-Sarasota Herald-Tribune Read full review.