Review: Pictures at an Exhibition – John Musto’s Opera “Later the Same Evening” Brings Edward Hopper’s Art to Life – Glimmerglass Festival, August 13, 2011

The 2011 Glimmerglass Opera festival presented a double bill of 21st century one act operas, designed to illuminate the lives or art of early 20th century artists. The first half of the double bill was a 75 minute opera entitled “Later the Same Evening”. [Below: Sheldon Segal (Neal Ferreira) and Rose Segal (Andrea Carroll); edited … Read more

Review: Costa-Jackson, Diegel, Matanovic and Simpson Excel in Glimmerglass Festival’s “Carmen”, August 13, 2011

Bizet’s “Carmen”, the most often performed of all French operas, is one whose inherent drama presages success in a variety of settings. A strong cast of actor-singers, conducted by Festival Music Director David Angus, and intelligent stage direction by Anne Bogart assured that audiences at the Glimmerglass Opera Festival’s 914 seat Alice Busch Hall would … Read more

Review: Deborah Voigt, Rod Gilfry Romp in Irving Berlin’s “Annie Get Your Gun” – Glimmerglass Festival, August 12, 2011

Discussions of Francesca Zambello’s insightful mountings of the masterpieces of opera as diverse as Wagner’s “Ring of the Nibelungs” and Gershwin’s “Porgy and Bess” have often appeared on this website. For the past quarter century, her ideas have impacted American opera performance. Her influence is now even greater as she assays her first season as … Read more

Review: Loving “The Last Savage”: Over the Top Menotti Charms at Santa Fe Opera – August 5, 2011

In the Europe of days of old, comic and serious opera had their own theaters. The tradition in the United States has been to employ both the masks of comedy and tragedy in any opera company’s repertory. But the comic genre itself has two masks – the standards such as Donizetti’s “L’Elisir d’Amore” and Johann … Read more

Review: Extreme Makeover – A Vivaldi Revival’s Reveal – Peter Sellars’ “Griselda” at Santa Fe Opera, August 4, 2011

Concept director Peter Sellars is noted for his often brilliant, and almost always controversial, staging of classical and baroque operas, reworked to make some point about contemporary society. For Santa Fe Opera, he was commissioned to mount a production of Vivaldi’s 1735 opera “Griselda”, whose plot is derived from one of Boccaccio’s tales from his … Read more