"Soprano Susannah Biller was irresistible as Kitty Packard (the role that was played by Jean Harlow in the movie), the airhead and unfaithful wife of Dan Packard (tenor Craig Irvin), wearing frilly dressing gowns all day and eating chocolates in bed from a huge, heart-shaped box in her moments of frustrations. And that’s the women who steal the show. Their vanities and vain preoccupations are exposed for everybody’s entertainment, but not too much frowned upon by the authors;
"Conductor Sergio Alapont secured buoyant playing from the orchestra." -Terry Blain, Star Tribune Read full review. "There is, of course, Puccini's lush score, faultlessly performed by the Minnesota Opera Orchestra under the direction of Sergio Alapont." Arthur Dorman, Talkin' Broadway Read full review.
"David Crawford’s Don Basilio offers a stirring basso which fits in with the comic drift but also has a rich elegance that moves one from beneath. . . The orchestra under David Angus is in fine form" -Boston Arts Diary Read full review. "The speed of the music has to match the speed of the farce and music director David Angus keeps the momentum apace. . . best of all, David Crawford’s lashing, scene stealing turn as Don Basilio: Looking like one of the Munsters, walking like
"Fortunata is well matched with tenor Brent Reilly Turner, who renders the imprisoned Florestan’s Act 2 aria (God! What darkness here!) with impressive passion and power across a range of feelings — despair, resignation, fortitude and longing. When husband and wife finally reunite late in Act 2 (O nameless joy!), we hear a veritable explosion of ardent lyricism." -Times-Colonist Read full review. "Tenor Brent Reilly Turner was a force of nature as Florestan. Remarkably strong
"Opera Saratoga’s Artistic and General Director Lawrence Edelson has tackled vital political issues in his programming before, but even he can’t have realized how timely Gian Carlo Menotti’s Cold War “Broadway opera” The Consul (1950)would be this summer. Seen on July 9, Edelson’s production proved tight and riveting. . . The magician Nika Magadoff and his completely preposterous comic relief episodes are probably Menotti’s greatest lapse of taste and tone in this show, but t
“The orchestra, which in this opera continuously dialogues with the voices, and foreshadows all the dramatic outcomes, was led with subtlety and vivacity by the American Conductor, Joseph Colaneri / La orquesta, que en esta ópera dialoga continuamente con las voces y anticipa prácticamente todas las alternativas del drama, fue llevada con sutileza y vivacidad por el maestro estadounidense Joseph Colaneri." -Clarín -Read full review.