“Persuasive and powerful, too, was Jennifer Zetlan as the tormented psychoanalytic patient at the center of “Ellen West”; Ms. Zetlan was focused through rangy, angry vocal lines and sweetly plangent in nostalgic reflection. . . The text is an enigmatic and poignant expression of a self that feels itself unreal…Gordon’s elegantly impassioned score drew dusky lyricism from the Aeolus Quartet, conducted here by Lidiya Yankovskaya.”
–Zachary Woolfe, New York Times
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"stage director Kristine McIntyre has kept the story-telling as fluid as possible. Although written in two acts, she quite rightly, I think, has chosen to align the work into one seamless and dizzying trajectory. McIntyre keeps the characters on stage most of the time so they are all relating to each other, pushing and challenging one another and at other times just looking back at themselves . . . John Riesen as the Younger Jim went the distance to portray the fear, humiliat
"Lidiya Yankovskaya brilliantly led the orchestral accompaniment, finding meaning in every gesture. . . The central pillar of the production is Jennifer Zetlan’s captivating performance as Ellen. . . her firm soprano has a way of grabbing the listener’s attention and not letting go. Titles were projected above the stage, but they were hardly needed, as Zetlan’s delivery brought intention and clarity to every syllable. From beginning to end, she disappeared entirely into the
"the production was brimming with excellent performances . . . Seasoned veteran bass-baritone Matthew Burns brought comedic and vocal flexibility to the workhorse Leporello. . . Ricardo Lugo lent his huge, round bass sound to the ghostly Commendatore." -Opera News Read full review.
"An appealing cast got to the heart of the drama . . . A natural at conveying Cavaradossi’s charm and self-confidence, Matthew Vickers gave the performance its first big musical jolt with a fervent, yet thoroughly elegant, “Recondita armonia” sculpted in long-breathed phrases. . . the tenor’s overall suavity of tone and technique impressed throughout" -Opera News Read full review.
"In his role debut as Rigoletto, baritone Michael Mayes expressed by turns raging power, gentle lyricism, and bleak pleading. Limping about with a hunchback and withered arm, his physical dexterity captured the look of Rigoletto’s damaged character with a chilling vividness." -Opera News Read full review.
"The most impressive turn of the evening was reserved for Rehanna Thelwell in Night Trip, who brought a thrilling commitment and dramatic intelligence to the bravura solo scenes that bookended the piece.” -Washington Classical Review Read full review. "Thelwell embodied the role of Conchetta, a young Black teenager, who is being driven from Chicago by two uncles to visit her family in Tennessee. . . The free physical expression of this performer, her clarity with putting acro