William Burnett

The Glimmerglass Festival revived a once popular, now rarely performed Rossini Opera, “La Gazza Ladra” or “The Thieving Magpie”. Meg Gillentine’s Magpie In Peter Kazaras’ new production for the Glimmerglass Festival, in which each character’s costume suggested a different species of birdlife, the non-singing role of the Magpie was danced by Meg Gillentine. [Below: Dancer Meg … Read more

The Glimmerglass Festival presented a new E. Lorne Meeker production of Puccini’s perennial operatic favorite,  “La Boheme”, this season. Even though an impressive 13 performances were scheduled, a 14th had to be added in response to the demand for tickets. With the exception of casting of veteran Dale Travis (who was a young artist in San Francisco … Read more

The Glimmerglass Festival presented a superb new production of Robert Ward’s 1961 opera, “The Crucible”, under the musical direction of French conductor Nicole Paiement, staged by New York director Francesca Zambello, with sets by Welsh designer Neil Patel and costumes by Washington state designer Jessica Jahn. The opera is based on Arthur Miller’s 1953 play. Miller … Read more

For six seasons the Glimmerglass Festival has devoted one of its four component operas to musical theater. The selection for 2016 was arguably the most ambitious, Sondheim’s “Sweeney Todd: The Demon Barber of Fleet Street”. Greer Grimsley’s Sweeney Todd Louisiana bass-baritone Greer Grimsley’s dramatic skills and power voice make him one of the most sought after of … Read more

Santa Fe Opera’s General Director Charles MacKay commissioned a new production of one of his favorite operas, Barber’s “Vanessa”, which originally premiered at the Metropolitan Opera in 1958. West Virginia Director James Robinson created the production and his frequent collaborator Pennsylvania designer Allan Moyer created the sets and Wisconsin designer James Schuette the costumes. [Photo:  Allan Moyer’s basic set … Read more

For the 2016 Santa Fe Opera season, the company presented its first production of Gounod’s “Roméo et Juliette” in its history, in a new production by British director Stephen Lawless. The production set the action in the 1860s, in an homage to the decade in which Gounod’s two most famous operas – “Faust” and  “Roméo” were created and … Read more

Richard Strauss’ 74-year old opera’ “Capriccio”, composed under the skeptical eye of a totalitarian Nazi regime, is a delicate piece that requires an extraordinary cast of singing actors, a stylish production, and a conductor and orchestra that can do justice to Strauss’ highly dramatic, lushly romantic score. The Santa Fe Opera, whose early reputation was built on … Read more

Lively performances by British Columbian bass-baritone Daniel Okulitch and Iowa bass-baritone Kyle Ketelsen as Don Giovanni and Leporello – buttressed by the solid vocal support from the artists who play Giovanni’s fellow aristocrats –  are the main attractions of Santa Fe Opera’s new production of Mozart’s “Don Giovanni”. The new production, directed by Brazilian stage director Ron Daniels, was quirky without … Read more

The Santa Fe Opera opened its 60th season with Puccini’s “The Girl of the Golden West (La Fanciulla del West)” in a new co-production with the English National Opera. The melodramatic work, that contains some of Puccini’s finest music, demands power singers with well-honed dramatic skills. The first night performance was a triumph. Patricia Racette’s Minnie New Hampshire soprano Patricia … Read more

In my review of the opening performance of San Francisco Opera’s 2016 mounting of Verdi’s “Don Carlo” [see Review: A Legendary Performance of “Don Carlo” at the San Francisco Opera, June 12, 2016], I had praised the cast, conductor and orchestra, suggesting it was one of the most deeply cast and moving performances of the work … Read more

As the last production overseen by the San Francisco Opera’s retiring General Director David Gockley, the company mounted Czech composer Leoš Janácek’s lushly melodic, highly dramatic, masterpiece “Jenufa”. Malin Byström’s Jenufa Swedish soprano Malin Byström, in her San Francisco Opera debut role, was a moving Jenufa. She gave an affecting vocal performance, displaying mastery of the high tessitura of … Read more

Experienced San Francisco Opera subscribers know when they’ve seen a performance so superb that it will be long-remembered. Such a performance was the lavishly cast production of Verdi’s “Don Carlo”, in which every member of a stellar ensemble contributed to an opera that deserved to be called “grand”. Michael Fabiano’s Don Carlo The opera’s title role was assumed by tenor … Read more

Tchaikovsky’s final opera, the luxuriously melodic “Iolanta”, was presented at the Opéra de Lyon as the first half of a Peter Sellars-directed double bill, that was followed by Stravinsky’s “Perséphone” Ekaterina Scherbachenko as Iolanta The “Iolanta” title role was assumed by the Russian lyric soprano Ekaterina Scherbachenko, whose soft, pleasant vibrato was enlisted for a beautifully conceived portrayal of … Read more

I previously reported on one cast for San Francisco Opera’s Summer 2016 production of “Carmen”, based on director Calixto Bielto’s famous (or, depending on one’s viewpoint, infamous) conceptualization [see Review: A Spanish “Carmen” from Calixto Bielto, May 28, 2016] in which Ginger Costa-Jackson, Adam Diegel, Erika Grimaldi and Michael Sumuel were respectively Carmen, Don Jose, Micaela … Read more

The “summer season” of the San Francisco Opera opened Memorial Day weekend premiering a new co-production (with the Boston Lyric Opera) directly based on Calixto Bielto’s European production of Bizet’s “Carmen” that some found to be notorious, and others, including myself, found illuminating. I had previously reported on the production’s British debut [Ruxandra Donose, Adam Diegel Are Dramatically … Read more

The Opéra de Lyon became the third opera house to mount a double bill of operas – Tchaikovsky’s “Iolanta” and Stravinsky’s “Perséphone” – conceptualized by director Peter Sellars. Although “Iolanta” has been the first opera performed in this double bill, the idea of pairing the two operas did not emerge until after plans for “Perséphone” were underway. For that … Read more