"Stage director Stephanie Havey told highly dramatic story of THE CRUCIBLE in a realistic manner .... That kept the tension building until the end of the show. Havey made a point of letting the audience see the different personalities of various cast members" -Broadway World Read full review. "Stage director Stephanie Havey handled the material with a keen understanding of the parallels between currents in our own time and those found among the Salem colonists who became vict
"There was a palpable sense of excitement emanating from the pit. Under Joseph Colaneri’s masterful watch, the orchestra, all Juilliard students, played splendidly." -Seen and Heard International Read full review.
This Superb Moby-Dick is a Defining Point in Chicago Opera Theater’s History "By any measure, the Chicago Opera Theater's staging of Jake Heggie's Moby-Dick at the Harris Theater for Music and Dance is a defining success in the history of the company… handsomely realized by the Chicago Opera Theater’s pit orchestra, masterfully led by music director Lidiya Yankovskaya, who never allows the momentum to flag. Also deserving praise is stage director Kristine McIntyre, who brings
"Polly is wise to doubt Macheath, who is loyal to no woman. He is a regular at the brothel, where Jenny, played by soprano Sharin Apostolou, is in charge of the prostitutes, and he returns to her again and again despite their antagonistic relationship. Apostolou, with her animated stage presence and lusty delivery, brightens all her scenes".-Syracuse.com Read full review.
“The Greek conductor Zoe Zeniodi does not resemble Emmanuele Haim, so we get a different repertoire for her younger age. But, like Haim, Zoe deserves to be called Mrs. Dynamite. Her energy, her obvious ability to lead (this, in an almost military capacity that defines conductors, as well as her physicality), her mature ideas shone in both concerts that we attended. . . Her Schumann’s 4th with the splendid Bogota Philharmonic was more than praiseworthy; the contrast between th
“Michael Mayes, Baritone (Nixon) and Matthias Klink (Mao Tse-tung) were the perfect political couple and received well-deserved applause.”
- Oper Magazin (Translated from German) "Nixon is the great, powerful baritone Michael Mayes..."
-Stuttgarter Zeitung (Translated from German) "While Katherine Manley as Pat Nixon always focuses on the outward appearances and sings to the last as a proud opera diva, Michael Mayes soon breaks as Nixon altogether, finally hiding under a ba
"Some interpreters of Tosca’s antagonist, the sadistic superintendent of Rome’s Stasi-esque police, Barone Scarpia, inspire hatred solely by delivering the part’s music with Sprechstimme more appropriate for Berg’s Wozzeck than for a Puccini rôle. The villainy of baritone Malcolm MacKenzie’s Scarpia was all the more startling for being enlivened by appealing, impeccably-controlled vocalism. Not once in his commanding portrayal of the loathsome reprobate did he resort to shout
"John Riesen has opera's Emotional Boy, Alfredo, firmly in hand. He is desperately in love and his heart is on his sleeve for the entire opera. Riesen and Valdes partner beautifully, and Riesen is note-perfect and powerful in his solos, an impressive tenor with dramatics to match. He gains power as the performance continues until his icy public confrontation with his lost love at her friend's soirée." -Naples Daily News Read full review.