"RICHARD STRAUSS'S ELEKTRA is all about primal screams, death cries, dissonance and angst. Silent movies are soundless, if often loudly emotional, affairs. Minnesota Opera combined the two in a provocative new production of Elektra that opened on October 5 at the Ordway Music Theatre in St. Paul. Stage director and production designer Brian Staufenbiel put Strauss’s opera in a new frame, creating a parallel story that overlaid the familiar opera version of the Greek tragedy.
"Jesse Blumberg brought a handsome baritone voice"
-Seen and Heard International Read full review. "The splendid results speak for themselves, and Cleveland’s Baroque Orchestra and Apollo’s Singers, headlined by soprano Molly Netter, countertenor Daniel Moody, tenor Stephen Soph, and baritone Jesse Blumberg, gave the four cantatas brilliant, stylish performances."
-Cleveland Classical.com Read full review. "To quote scripture and Handel: their burden was light. Soph was a f
"Bass Sidney Outlaw attacked his pieces with consummate diction and exceptional accuracy in runs and well-focused brilliance at the top of his range, all heard to pleasing effect in “Why Do the Nations.”"
-Washington Classical Review Read full review.
“Mexican tenor Jesús León was making his Bellas Artes and role debut as Hoffmann so the stakes were high. After a very solid career in Europe, León proved to be ready to perform the challenging role of Hoffmann. His voice is very lyrical, Italianate in color and projection, with squillo in his secure, blazing high notes. He was very convincing vocally in the lyrical parts of the score, such as the "Ballad of Kleinzach", his declaration of love for Olympia or the difficult “O
"And Agathe’s aria “Leise leise fromme Weise” was just stunning, filled with successive eruptions of different emotions. It blossomed in Katherine Whyte’s performance into an absolute joy to ride through. In fact, Whyte was absolutely superb throughout." -BlogCritics.org Read full review. "...Katherine Whyte’s touching portrayal of Agathe. Whyte’s lyric soprano filled out Weber’s melodies beautifully" -Seen and Heard International Read full review.
"Montenegro’s Mario sweetly gains confidence, with Neruda’s assistance, as he gains Beatrice’s hand. He plays very effectively Mario’s sadness and bewilderment when Neruda, released from exile and once more globe-trotting to great acclaim, seems to have forgotten him....Montenegro saved Mario’s best vocal moment for last, as he sings the touching letter he has left for Neruda at the opera’s conclusion. A strong, agile mezzo-soprano, with vocal color to burn, Miller had the gr
"Marcello’s love interest was Joanna Latini, the production’s Musetta. With a voice as strong as Mimi’s, but perhaps with a more innate dramatic quality, she delivered all the was needed in the famous Waltz Song in the Cafe Momus act, her infuriating actions (at least to Marcello) filled with comedy and impressive wilfulness—Musetta’s underlying quality. Latini made a strong impression and earned her full share of applause at the end." -Calgary Herald Read full review. "Joan
"Guest conductor Robert Wood underscored the drama and sonority of the music for Austin Opera’s latest staging, which plays through Sunday at the Long Center. For her part, stage director Tara Faircloth highlighted the concrete and specific psychologies of the characters rather than the general and pictorial elements in a story about a venal Duke of Mantua pitted against Rigoletto, his cruel and vengeful jester, and Gilda, Rigoletto’s innocent daughter and one of the Duke’s p