"a flawless, kaleidoscopic staging by the abundantly gifted director, Kristine McIntyre. The central playing space has audience members on all four sides and Ms. McIntyre has devised fluid, continuously morphing stage pictures that not only underscore the dramatic truth of the situations, but also keep each segment of the audience fully immersed in the drama by having at least one character playing in their direction. She drew deeply personal portrayals from her superb cast.
"Conductor Robert Tweten, a veteran of Utah Opera, led members of the Utah Symphony in a well-crafted performance of the score."
-Utah Arts Review Read full review. "Chorus Master Michaella Calzaretta andConductor Robert Tweten create a masterful musicality between the chorus and the orchestra, creating some of the most musically effective moments of the story with the choral pieces."
-Front Row Reviewers Utah Read full review. "Utah Opera Chorus Master Michaella Calzarett
"Noel Bouley played Giorgio Germont straight down the line, willing us to have sympathy with his dilemma, and his rich baritone was authoritative and highly convincing."
-BachTrack Read full review. "Noel Bouley’s Germont père is nicely sung and... there is plenty of musical intelligence and charm."
-Classical Source.com Read full review. "His father was stolidly sung and played by Noel Bouley, the aria sung with musicality."
-musicomh.com Read full review. "Noel Bouley,
"Maestro Sergio Alapont at the head of the Orchestra Città di Ferrara gives adequate instrumental depth to the ductile and animated intertwining of all the voices." Fabio Brisighelli - Il Corriere Adriatico
"The Orchestra Città di Ferrara, the Benedetto Marcello Choir of Venice, magnificently conducted by the Spaniard Sergio Alapont, one of the leading conductors of his generation, awarded with a GBOSCAR in Italy as best opera conductor and winner of the International Compe
"As his partner Anna Sørensen, Karin Wolverton reprised the part she sang in 2011, including an impassioned account of her anguished Act Two aria...The nuanced, cultured singing of baritone Edward Parks, as the French Lt. Audebert, was another vocal highlight of the evening. -Star Tribune Read full review. "While few operas so depend upon being an ensemble piece, all of the principals are exceptional. Karin Wolverton debuted the role of a Norwegian soprano and she outdoes her
"His high-powered duets with Eleni Calenos as Mimì were among the delights of this performance. Calenos has a sweet and pliable soprano voice that made audience members join Rodolfo as he falls in love with Mimì. When she spoke of her love for spring and nature in her first aria, she established the personality her character would maintain." -Broadway World Read full review.
"Sung by Karen Slack, Addie’s powerful personality reminded me of strong-willed mothers I have known as a teacher. With warm and inviting [...] tones, she sang fervently of raising a black man-child in a world that didn’t always acknowledge the extent of his talent. Thus, she showed a picture of segregated life in the 1950s to 21st century operagoers. . . Baritone Sidney Outlaw was a recognizable Dizzy Gillespie wearing the expected beret and glasses. He sang with powerful lo
"Victoria Livengood as Old Lady, a put-upon woman of the world who nudges Cunegonde and Candide through their foibles with risible wisdom. Both actors serve as oracle characters, offering a candid and realistic view of the nature of the world with perfectly performed comedy." -Front Row Reviewers Utah Read full review. "Among the other cast members, baritone Mark Diamond as Maximilian, soprano Aleks Romano as Paquette and mezzo-soprano Victoria Livengood as the Old Lady deser
"Marie Lenormand embodies The Mother and The Other Mother, figures of power in each of the two worlds. The mezzo-soprano elaborates the two facets of her character with great skill, between a loving mother and the demonic character that constitutes her negative side, whose false devotion reveals dark intentions. Her voice extends beyond the pit with ease, whether it is soft or on the contrary full of fury (especially when it makes her husband disappear magically), alternating
"La production de Das Rheingold présentée en première à [samedi] soir à l'Opéra de Montréal était spectaculaire avec ses impressionnants effets scéniques. / The production of Das Rheingold premiered at [Saturday] night at the Opéra de Montréal was spectacular with its impressive stage effects." Caroline Rodgers - Ludwig van Montréal Read full review. "The first time Wagner’s Das Rheingold is staged in Montreal is a success. As a whole, this is Opéra de Montréal’s best product