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May 24, 2022

Rehanna Thelwell "stupendous" in her role debut as Carmen at WNO

"There are five performances remaining of Washington National Opera’s season-closing production of Carmen. Only one, however, is worth your time: Rehanna Thelwell will sing the title role once more, on May 27, and she is, in her role debut, a stupendous Carmen. WNO’s Cafritz Young Artist Program, which frequently offers some of its singers a chance to perform leading roles in a performance or two of each of their productions, as was the case on Sunday, is not known for minti

May 24, 2022

Habersham "luminous" in Verdi concert with the Atlanta Symphony

"Soprano Jasmine Habersham was vocally luminous as Gilda, a role she sang earlier this year in Opera North’s production of Rigoletto (in Leeds, UK), and is scheduled to reprise at Utah Opera in March 2023." – Earrelevant

May 24, 2022

Rebecca Ringle Kamarei "compelling" in Alma Mahler focused concert

“From Gustav Mahler's vast song repertoire, Ms. Kamarei opened her set with the dramatic "Wenn mein Schatz Hochzeit macht"; her voice instantly captivated me with its distinctive colour-palette size, a compelling command of dynamics, and a thoughtful way with words… The five Alma Mahler songs drew my companion and me into even higher regard for Ms. Karamei and Mr. Wagorn. She displayed the great power of her voice, then reined it in to an impressive piano with complete contro

May 24, 2022

"Belén: Un Canto Sagrado a Mis Ancestros" by Johanny Navarro

El Puerto Rico is a project of the Massachusetts International Festival of the Arts (MIFA) and the Victory Players and Music Director Tianhui Ng, with support from New England Public Media. The rhythms of the bomba, Puerto Rico’s traditional dance music, are the underpinnings of Johanny Navarro’s work Belén: Un Canto Sagrado a mis Ancestros (“A Sacred Chant to my Ancestors”). These rhythms are rooted in the African and indigenous heritage of the Caribbean. Much like a transla

May 18, 2022

In Review: Pearce as Don José in WNO "Carmen"

“…Matthew Pearce, blends strength with sensitivity as an equally solid and especially stylish Don José. . . his voice lends itself well to French repertoire and the ease with which he colored his singing, including some beautiful voix mixte, gave his brusque Don José a believable air of desperation.” – Parterre Box

May 17, 2022

In Review: Hawk makes a "charming" Poppea in Florida Grand Opera "Agrippina"

"Feigning grief and friendship, Lyons effectively played off the Poppea of Flora Hawk. A charming soubrette, Hawk possesses a bright soprano sound. . . She deftly traced Poppea’s vengeance aria when she thinks her beloved Ottone has been unfaithful and spun roulades with grace at their reconciliation. Hawk also evidenced fine comedic skills at Poppea’s mock flirtatious dalliances with three would-be suitors." - South Florida Classical Review ps://southfloridaclassicalreview

May 17, 2022

Daniel Sumegi lends "commanding bass" to Opera Australia "Lohengrin"

"Commanding bass Daniel Sumegi creates an imposing presence as King Heinrich, all the while colouring his vocal performance with seeds of doubt in the monarch’s rule as the King wavers in his investigation of the disappearance of the young Duke. " - Simon Parris, Man in Chair "Supporting roles are filled equally as outstandingly, with large, authoritative bass Daniel Sumegi in a balancing act of diplomacy and command as King Heinrich" - Australian Arts Review "Daniel Sumegi m

May 17, 2022

In Review: Elaine Alvarez & Catherine Martin in "Don Carlos" with Maryland Lyric Opera

"Cuban-American soprano Elaine Alvarez also made her company debut as Elisabetta... Her voice gleamed with power, but she could also moderate that volume with subtlety, matching beautifully with Chacón-Cruz’s lighter sound in their Act I scene. That more plangent side of her tone gave poignancy to delicate arias, like “Non pianger mia compagna” in Act I. The tragic duet with Carlo at the opera’s conclusion ached with anguish. . . Mezzo-soprano Catherine Martin, remembered fon

May 13, 2022

In Review: Hawk brings "strong, radiant soprano voice" to COT "Quamino's Map"

“…Hawk, who lights up the role of Amelia with her strong, radiant soprano voice.” – Chicago Sun Times "As Juba’s high-born beloved Amelia, Flora Hawk also made an impressive COT debut, displaying a pleasing light soprano and charming stage presence." – Chicago Classical Review

May 13, 2022

Habersham and Sanders impress in Madison Opera "Orpheus in the Underworld"

"Habersham, a confident soprano with high notes that sparkle, sets the tone of her story and the show. . . Sanders, a limber tenor with a warm vocal tone, goes further than anyone in his attempts at physical comedy, prat-falling and flailing." - The Cap Times

May 11, 2022

In Review: Riesen and Irvin in "The Pirates of Penzance" with Utah Opera

"Making his Utah Opera debut, John Riesen was perfectly cast as Frederic, the orphan who was mistakenly apprenticed as a child to the leader of a band of tender-hearted pirates . . . Riesen’s expressive voice was mannered in just the right way to reflect Frederic’s self-righteousness, and as an actor, he fully committed to being the “slave of duty.” The seriousness he brought to his character’s moral dilemma propelled the show forward and heightened its humor. . . The same co

May 8, 2022

In Review: Alvarez provides "breathtaking" Violetta in Fort Worth "La Traviata"

“Soprano Elaine Alvarez totally embodied Violetta. She expressed Violetta’s hopes with poignant lyricism in reflective passages. In duets with Alfredo, her ardent lover, she unleashed white-hot vocalism, snarling when defying his wishes. Exploring a wide range of tonal colors, she eloquently phrased melodies, incorporating trills and runs seamlessly into her lines. She provided the most breathtaking moments of the evening in arias that sent chills down the spine.” -Dallas Mor

May 8, 2022

Opera News hail's Faircloth's "Die Lustigen Weiber von Windsor" at Juilliard

"Otto Nicolai's Die Lustigen Weiber von Windsor made a delightful evening at Juilliard . . . Without damage to the story, director Tara Faircloth set the piece in the Cheeverish suburbs circa 1960 . . . Faircloth opted for a staged overture, but used it wisely to establish the personae and make clear the romantic machinations already in play. . . Faircloth translated the spoken portions into creditable English." -Opera News

May 6, 2022

In Review: Ollarsaba and Ferrante in Virginia Opera's "Le nozze di Figaro"

“As the Count, bass-baritone Richard Ollarsaba didn’t just have the tall-dark-and-handsome bit going for him, but also robust, flavorful, agile vocalism…he delivered his Act III aria with particular panache. Ollarsaba’s portrayal of the amoral aristocrat deftly conveyed a sense of entitlement as well as a telling bit of insecurity, making his gorgeously sculpted “Contessa, perdono” all the more affecting. . . Jason Ferrante made a delectable Basilio, obsessively toying with a

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Photo: Fundacion Teatro Nacional Sucre