"Brian Staufenbiel is Director par excellence. He fuses not only these many narrative and dramatic elements but the magical projections created by David Murakami. These include shots of Cocteau’s original line drawings, and the unique film shot by Staufenbiel, Murakami, Saskia Lee, and Joe Bourekas, in the San Francisco home of Betty Wallerstein. Inset into Sean Riley’s set and lit by Matthew Antaky, these intensify the drama as Glass’s score uncoils from the opening motif, i
"Even the supporting players, enablers in the count’s retinue, were outstanding: Patrick Carfizzi, Jason Ferrante and Lucy Schauffer." -DC Metro Theater Arts Read full review.
"there were excellent contributions from Patrick Carfizzi as Bartolo, Lucy Schaufer as an unusually youthful-looking Marcellina, and Jason Ferrante, who doubled as a wonderfully unctuous Don Basilio and then returned in disguise as a wheelchair-bound Don Curzio."
-Seen and Heard International
"Utah Opera has gone to the movies for its season closer, a production of Mozart's "Don Giovanni" reimagined as a 1950s film noir.Director Kristine McIntyre's 21st-century conception fits the 1787 masterpiece so well, it's a little surprising no one else has done it before. McIntyre not only has made savvy staging choices that bring the opera's ideas closer to home for modern audiences — including a surprise twist ending, which isn't easy to pull off when almost everyone in t
"the vibrant tenor Mackenzie Whitney" -The New York Times Read full review. "Mackenzie Whitney's . . . sang "Addio fiorito asil" quite well, convincing us that he was just a self-centered lout with his mostly phony remorse. We would love to hear his tenor in a sympathetic role."-VoceDiMeche Read full review.
"Tenor Matthew Vickers (Sam Polk) exudes warmth and generosity as Susannah’s brother, conjuring the impetuosity that marks Sam’s failure to protect home and family."
-The Roanoke Times
Read full review.
"Andrea Carroll, Catherine Martin and Renée Tatum sang (and splashed) with brio."
-Houstonia Read full review. "The three Rhine Maidens in this production not only sing but swim underwater (each in her own tank). These bravura assignments were nicely achieved by American sopranos Andrea Carroll and Catherine Martin and by American mezzo-soprano Renee Tatum."
Read full review. "How could I not be happy in the sweet and exhilarating vocal presence of Andrea
"The Ulrica of Dana Beth Miller harkens to the great mezzos and contraltos of the past. She is the most interesting character in the entire piece. Her commitment is to giving a most beautiful sound while scaring the bejeezus out of us. It is time for her Azucena, Eboli and Amneris at Florida Grand Opera; this caliber doesn’t come along often. -Jeff Haller, ConcertoNet.com, The Classical Music Network Read full review. "Mezzo-soprano Dana Beth Miller, showing her opposite side
"The soprano Emily Birsan was silvery clear" -The Times Read full review. "Soloists Ben Johnson and Emily Birsan impressed, not least in their bright-timbre but in the apparent ease with which they dispatched their unforgiving vocal lines: “O blessed Jesu” is littered with ungrateful leaps which both singers took in their stride."
-BachTrack.com Read full review.
"The two soloists – Emily Birsan and Ben Johnson – were well cast . . . Birsan’s sweet top register provided the
"Bass-baritone Matthew Burns is equally charming as the Don's long-suffering sidekick, Leporello; the two men are so well-matched physically and vocally that their pranking of Donna Elvira late in the show is completely plausible." -Salt Lake Tribune Read full review.