"Tenor Viktor Antipenko and baritone Corey Crider sing strongly as the sons, Prince Guidon and Prince Afron, who are so dumb they get killed by their uncoordinated armies." -Dallas News Read full review. "Corey Crider and Viktor Antipenko, as the Tsar’s pair of equally clueless and childish progeny, construct a formidable comic couple, just one stooge short of a Three Stooges tribute act." -Theater Jones Read full review.
"GEORGES BIZET'S CARMEN opened Utah Opera’s new season on October 8, featuring a uniformly young and attractive cast under the direction of Tara Faircloth. Faircloth deftly fleshed out characters’ motivation, driving momentum and credibility as the story careened to its fated conclusion. She also injected a modicum of humor that, despite one bit of slapstick in the first act that had soldiers swooning during the “Habanera,” briefly relieved mounting tension. The opera, sung i
"Thankfully, Whitney was a perfect match for Piao, not only as the quintessentially handsome lover, but also as an equal vocal and dramatic partner in the pair’s love duets. His romantic lyrical tenor was conspicuously smooth, but passionate, filled with warmth in his mid-range and an unprepossessing clarity in the upper. Like Piao, Whitney’s physical movement bubbled with vitality, yet with a stage presence that seemed natural and unforced." -Arts Knoxville Read full review.
"But the orchestra's more immediate presence does not mean that the production will not have its own high concept. Stage director Kathleen Smith Belcher makes her debut in Denver with her first "Carmen." (She is the wife of baritone Daniel Belcher, whose performances in Denver and Central City last year were enthusiastically acclaimed.)While the action still is set in Spain, it is updated to the time of the Spanish Civil War."There is a lot of violence and brutality inherent
“There cannot be enough said about the effectiveness of Kathleen Smith Belcher’s stage direction. In her Sarasota Opera debut, this veteran of the Met and other major stages of the opera world, added a new level of entertainment excellence for us to enjoy. At no point was a character simply existing on stage. Everyone’s actions had a meaning, and sometimes several layers. Did I catch an insider’s reference to "Aida" in Despina’s crossed arm pose on top of the chair at the beg
Tibetan Book of the Dead by Ricky Ian Gordon – Eastman Opera Theatre “Eastman's take on "The Tibetan Book of the Dead" leaves the audience with plenty to ponder: a heartfelt reflection on death as a vital part of life, sung with conviction and manifested through intelligent set design by Daniel Hobbs and deft musical direction by conductor Timothy Long.” — Rochester City Newspaper
The Stars Align: 70th Anniversary Gala – Tulsa Opera “Oklahoma native Timothy Long, in his company debut, led the Tulsa Opera Orchestra through the wide-ranging program with verve and confidence.” - Tulsa World
"The orchestra and its director, Christopher Larkin, deserve highest praise. Never overpowering the singers, they brought to the music a wealth of nuance and expression, controlling tempo as needed. Larkin followed the soloists, requested and received dynamic variety from the instruments, and propelled the dramatic tempo throughout." -Oregon Artswatch Read full review.
"Opera Saratoga’s Artistic and General Director Lawrence Edelson has tackled vital political issues in his programming before, but even he can’t have realized how timely Gian Carlo Menotti’s Cold War “Broadway opera” The Consul (1950)would be this summer. Seen on July 9, Edelson’s production proved tight and riveting. . . The magician Nika Magadoff and his completely preposterous comic relief episodes are probably Menotti’s greatest lapse of taste and tone in this show, but t
"Tenor Daniel Montenegro is well cast as Tybalt, his voice has darkened in the years since he's been here last, and he is a good foil for Roméo." - Opera Tattler Read full review. "...tenor Daniel Montenegro (Merola 2010; Adler Fellowship 2011), as Juliet's testosterone-driven brother Tybalt, made a robust impression." -Bay Area Reporter 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
"it’s the moving evocations of intense love and sadness in Verdi’s music that make “La Traviata” a masterpiece, and those were beautifully conveyed on opening night by our lovers, American soprano Nicole Cabell and Mexican tenor Jesus Leon. . . While Violetta is usually the center of attention in this opera, Leon’s Alfredo was its charismatic catalyst. He consistently stole scenes, disarmingly open-hearted as he gave each line a wonderful mix of tenderness and effusive passio
“Erda, the goddess of the earth and the individual with the most power over Wotan and the universe, was deeply realized by mezzo-soprano, Alissa Anderson. Her entry out of the sidelines into the center was especially remarkable and her aria of doom and warning was memorable. It was a chilling moment, and one of the best realized scenes of the performance” - Voice Magazine
"But it's Cassandra Zoe Velasco, as Butterfly's loyal and loving maid Suzuki, whose best encapsulates the audience's revulsion at Pinkerton's cavalier thoughtlessness, seething with rage even as she retains her placid demeanor while watching her mistress' heart shattered beyond recognition." -BroadwayWorld Read full review. "Cassandra Zoé Velasco’s Suzuki (Butterfly’s maid) and Lester Lynch as Sharpless (the U.S. Consul) are standouts. Both characters are the proverbial cana
“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
"The outstanding mezzo-soprano Rebecca Ringle, her voice dark and warm and a tangible anchor in the ensembles. . . As Wright, the fine baritone Sidney Outlaw . . .The whole thing was, though, a generally intense and pleasurable musical experience in the hands of UrbanArias founder and conductor Robert Wood." -Anne Midgette, Washington Post Read full review. "Taking on this complicated challenge was Sidney Outlaw as Frank Lloyd Wright. In “And her scent, was it musk?” and “Eac
"Some of the saltier characters have some of the best music of the evening. At the top of that list is Arnalta, Poppea’s cheeky Nurse, whose lullaby, ‘Obblivion soave’, would be welcomed by anyone at bedtime, especially as delivered by the superb mezzo-soprano Rebecca Ringle Kamarei." -Seen and Heard International Read full review. "One of the musical highlights was the lullaby sung by Arnalta (Rebecca Ringle Kamarei)" -Cincinnati Business Courier Read full review. "With two