"With its cavernous auditorium, The Palais is the closest thing Victoria has to a grand European opera house. The acoustic is no challenge for Australian bass-baritone Daniel Sumegi or English tenor Ian Storey, who give thrilling vocal turns as Jochanaan and Herod respectively."
-The Sidney Morning Herald Read full review. "Sumegi makes a wonderfully forthright and resolute Jochanaan, his sonorous baritone driving through the phrasing like a Mack Truck."
-TimeOut.com Read f
"Conductor Lidiya Yankovskaya displayed remarkable versatility in her leadership of the seventy-member orchestra, here placed behind the action onstage. The eerie opening passages of Everest suggested isolation itself, while the peasant dances in the Rachmaninoff careened along delightfully. The percussion and brass outdid themselves. COT’s audience was enthralled." -Opera News Read full review.
"Two finer men could not have been cast for the leading roles of the lovers, Hawk and “Skippy.” Baritone Jesse Blumberg, as the super-confident Hawk Fuller. . . looked gorgeous and sang that way as well." -Opera News Read full review.
"San Diego Opera General Director David Bennett assembled a solid vocal cast, including singers who have become welcome regulars in the company. Sara Gartland, who sang Musetta in the the 2015 La bohème, used her clear, bright soprano to portray a pert, sincere Gretel, the classic wiser older sibling. . .
Malcolm MacKenzie has appeared in a dozen San Diego Opera productions, but he is emblazoned in my memory as the vocally and dramatically imperious Sergeant Belcore in the
"Conductor and COT music director Lidiya Yankovskaya led the soloists, choirs and the Chicago Sinfonietta in a crisp performance that served populist and classical idioms with equal aplomb." -Chicago Tribune Read full review. "Last, but by no means least, there are the musicians of the Chicago Sinfonietta, led Lidiya Yankovskaya – Chicago Opera Theater’s ever adventurous and impassioned music director, who helped nurture this project. Together they captured to perfection ever
"All the performers excelled musically and dramatically, led by soprano Eleni Calenos, who was radiant as Eisenstein’s wife Rosalinde...Calenos is well-known to New York’s Greek-American Community and her star is rising in the opera world. During the premier she lit up the community’s social media accounts as her friends in Athens reported her triumph and Greeks in New York posted congratulations."
-National Herald Read full review.
"It’s not hard to see how he won over Mary, played by the marvelous Adriana Zabala. (Zabala’s Act II aria, “I worry, that’s all,” is another distinct pleasure.) ...baritone Sidney Outlaw shine as a wisecracking secretary and a political puppeteer."
-Madison.com Read full review.
"Fortunata is wonderfully matched with an excellent vocal and dramatic companion in Annie Rosen as Adalgisa. Hers is a naturally warmer sound than Fortunata’s, but hardly less brilliant when needed, and she sang the arias and duets to perfection, not the least the Miro, o Norma duet in the second act, a highlight of the production. Dramatically, she conveyed the fragile, sensitive side of her character well, a perfect foil for the more assertive Norma."
-Calgary Herald Read
"Stage director Kristine McIntyre brought Poulenc’s one woman drama into the modern era with her own updated translation of the libretto. Performing the opera in English removed the need for surtitles, which let the audience focus on the drama. In addition to the telephone, McIntyre added in some new technologies such as a smartphone and tablet....In McIntyre’s version of the libretto, Elle might have more modes of communication available to her, but the sentiments remain the