“Blaszko returned with the duet “Tvoje moudrost vsechno tusi” from Dvorak’s “Rusalka,” with Lyle as the lovestruck title character and mezzo-soprano Rehanna Thelwell as the most gleefully wicked Jezibaba since Dolora Zajick.” - St. Louis Post-Dispatch Read full review. "There were some immensely appealing rarities in the evening, such as the scene from Dvorak's "Rusalka" in which the sorceress Jezibaba (mezzo Rehanna Thelwell in a performance of hair-raising intensity) cons p
"Rainelle Krause is a catalog of facets as she presents a diverse Pat Nixon, at once deferent and astute, aloof and canny, and ready for any role presented to her. Best of all is how Krause finds the hominess in Mrs. Nixon while honing in on her skillful intelligence. . . Joseph Barron’s Henry Kissinger is all shrewd business." -PrincetonInfo.com Read full review. "Soprano Rainelle Krause effectively looked the part of Pat Nixon, capturing an often worn and weary woman whose
At the behest of Ricard Muti, Elaine Alvarez has been asked to step in last minute for an ailing colleague to sing the remaining performances of Verdi’s “Aïda” with the Chicago Symphony Orchestra. The performances, which mark Ms. Alvarez’s CSO debut, are June 23rd and June 25th, 2019. Ms. Alvarez previously sang with Maestro Muti in 2008 on tour with the Ravenna Festival performing the Soprano Soloist in Rossini's “Stabat Mater.” She made her Chicago debut in 2007 at the age
"Billie, the hardscrabble mother (the feisty, rich-voiced soprano Karen Slack), works in a chicken factory to keep her family fed and as stable as possible."
-The New York Times Read full review. "The gifted soprano Julia Bullock shines in her role...So does dark-voiced soprano Karen Slack as Billie, a strong woman who finally manages to tell her youngest son that she loves him"
- Saint Louis Today Read full review. "powerhouse Karen Slack" -ReviewSTL.com Read full review.
"As Sancho Panza, Seth Carico gives a vital, powerful, benevolently present performance of the servant who, shaking his head, follows his master into his consuming madness, but remains faithful even beyond his master's death. Carico dominates his idiomatic performance with vital power of tone."
-Opernkritik Berlin "Seth Carico in the servant role of Sancho Panza is to be mentioned in the first place - also according to the strength of applause. The spiritual brother of Lepor
"Chauncey Packer’s clear tenor voice caused a minor uproar among the audience in his delivery of Roland Carter’s “Freedom.” His last utterance of “. . . goin’ home to be free,” was sung with such conviction, it was as if he were saying, “I am ready to die!” nobly." -Classical Singer Magazine Read full review.
"Jesse Blumberg’s Atalante proved appealingly versatile: sinister in his Act 1 appearances, elegant and suave in Act 2’s “Che bella preda,” and mining the Handelian brio of Act 3’s “Mal concertate moli” with cool charm."
-Boston Classical Review Read full review.
"Director Brian Staufenbiel gave the opera a fluid staging on Sean Riley’s set, which employed a series of moveable pieces. A stack of suitcases in the opening scene at Penn Station, along with a succession of arches and banquettes, were all put to use as elements of the train’s interiors. . . Baritone Daniel Belcher was a robust Stieglitz" -Opera News Read full review.
"Christian Zaremba is gracefully menacing as Sparafucile, the hired assassin. On his exit at the end of one scene he holds an almost sub-sonic bass note practically forever."
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"Christian Zaremba’s Sparafucile is appropriately evil, a murderer-for-hire concerned about his honor."
-Saint Louis Today Read full review. "Among the supporting cast, Christian Zaremba, making his Opera Theatre main season debut, plays Sparafucile, the assassin, w