"Minnesota Opera has put together an excellent ensemble . . . It’s clearly a difficult score to sing, which makes this production’s performances all the more impressive. Catherine Martin has a clear, powerful mezzo-soprano voice and offered a disarmingly natural characterization as Sister Helen. . . But the standout performance is that of bass-baritone Seth Carico as the condemned man, Joseph De Rocher. This might be the most physically and emotionally demanding role that I’v
"Malcolm MacKenzie's first lines as Rigoletto quickly established his rich, freely produced baritone as one to savor in the part. His assured negotiation of the character's punishing high tessitura continued to thrill throughout the lengthy role."
-Roy C. Dicks, CVNC Online Read full review.
"The latter, by the way, was the conductor for both Rimsky-Korsakov operas. She comes to the Bay Area from the Chicago Opera Theatre, where she is Music Director. In Ms. Yankovskaya’s hands, the small Island City Opera Orchestra of some two dozen members gave a richly robust rendition of Rimsky-Korsakov’s music." -The Berkeley Daily Planet
Read full review. "Both productions featured excellent conducting by guest conductor Lidiya Yankovskaya. . . The chamber orchestra, sea
"The romantic duo of Count Almaviva and Rosina, played by Javier Abreu and Heather Johnson, were equal parts charming and shockingly funny. Abreu’s smooth and ardent tenor easily conveyed the lovesick noble, and his opening aria “Ecco ridente in cielo” was endearing." -The Register Guard Read full review.
"three redeeming features make this production worthwhile. . . Second is the cast. . . Portraying a voluptuous Carmen, contralto Alissa Anderson sang the “Habanera” with power and passion as she searched for Don José, soon after presenting a more reflective “Seguidilla.” . . .Bass-baritone Calvin Griffin, as the dapper toreador Escamillo, sang with equal conviction." -Artsbham.com Read full review "The smoldering Alissa Anderson breathed life into Carmen, a gypsy "hostess" g
"The highlight of the piece came during the thirteenth movement, "when it's time for me to go," with mezzo-soprano Amanda Crider's stirring ostinato solo painting urgent brushstrokes above the ensemble's densely blended meditation." Schmopera - Carly Gordon Read full review. "Amanda Crider’s alto rose with deep sonority over the dissonant harmonics of “when it is time for me to go.” South Florida Classical Review - Lawrence Budmen Read full review.
"Mezzo Adriana Zabala, as Carrie, shows remarkable vocal and dramatic versatility. Sh'e exuberant during her fleeting scenes of happiness with Phares and heartbreaking in the Act II duet in which they both read Carrie's letter announcing that she's leaving him. . . Matt Morgan, possessed of a buoyant tenor, is uplifting as Drouet." -Opera News
John Riesen: Past Chautauqua Opera Company credits: Studio Artist in 2013 & 2014, Apprentice Artist in 2015; Lensky in Eugene Onegin,Malcolm(cover) in Macbeth, 2nd Dandy/Stagedoorman in The Ballad of Baby Doe, Chorus in Madam Butterfly, Rector Adams(cover) in Peter Grimes, and Chorus in Lucia di Lammermoor Select credits: La Traviata (Alfredo) with Tri-Cities Opera; Gianni Schicchi (Rinuccio) with Crested Butte Festival; La Bohème (Rodolfo) andBeauty and the Beast (Gaston) wi
'Moby-Dick’ opera transforms a massive novel into a human-scaled epic Review • Utah Opera gives the world its first look at a stunning reimagining "A full house of opera fans (including Heggie and Scheer) got their first look at this stunning new production at the Capitol Theatre Saturday night. . . Kristine McIntyre’s authoritative stage direction pull the audience into the action. McIntyre has made exceptionally intelligent use of the space, onstage and off, and wisely brou