William Burnett

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

The Opéra National du Rhin mounted the 22-year old Richard Wagner’s komische oper, “Das Lieberverbot” [the Ban on Love]” in a new production conceived by director Mariame Clément. The opera is roughly based on the Shakespeare play Measure for Measure, although only a few of Measure’s characters – Isabella, her brother Claudio, Mariana and Lucio are retained … Read more

The Festspielhaus Baden-Baden (Germany) produced a lively new production of Boito’s “Mefistofele” conceived by Director Philipp Himmelmann and conducted by Stefan Soltesz, utilizing an ingenious setting by Johanne Leiacker, and imaginative costumes by Gesine Vollm. Erwin Schrott’s Mefistofele The title role was sung by Uruguayan basso Erwin Schrott. Although I had previously enjoyed his performance as Figaro [Fine … Read more

Russian mezzo-soprano Elena Maximova and Montana spinto tenor Brandon Jovanovich led a cast of international stature in a revival of the Lina Wertmüller production of Bizet’s “Carmen”. Elena Maximova’s Carmen Elena Maximova made a strong impression as Carmen, with a dusky voice, vibrant at its top, and secure in its lower range. [Below: Elena Maximova as Carmen, … Read more

I attended the second performance of the current revival of Luc Bondy’s production of Puccini’s “Tosca” at the Bayerische Staatsoper, which was a vehicle for Illinois soprano Sondra Radvanovsky. Sondra Radvanovsky’s Tosca The title role of “Tosca” is one of Sondra Radvanovsky’s signature roles. It is a role to which her dramatic instincts and her … Read more

South African baritone Jacques Imbrailo and Maryland soprano Corinne Winters assayed the lead roles of “Pelléas et Mélisande” in a radical reinterpretation of the Debussy’s 1902 opera by Russian director Dmitri Tcherniakov. Iowa bass-baritone Kyle Ketelsen was Golaud. The vocal performances and acting of all three principals was stunning, and the trio was well-supported by a … Read more

Zurich Opera invited Dutch director Jetske Mijnssen to create a new production of Haydn’s comic opera “Orlando Paladino”, derived from 16th century fantasist Ludovico Ariosto’s Orlando Furioso. Perhaps no opera composer is more unjustifiably ignored that Mozart’s friend and mentor, Joseph Haydn. Zurich Opera has taken a step toward rectifying that injustice. [Below: Composer Joseph Haydn; … Read more

Claus Guth’s revelatory “Rigoletto” production opened last month at the Opéra National de Paris, with Hawaiian baritone Quinn Kelsey scheduled for ten performances in the title role. Illness required Kelsey to withdraw from his scheduled seventh and eighth performances on May 7 and 9th. [Photo: Director Claus Guth, left works with baritone Quinn Kelsey on Rigoletto’s gestures; edited … Read more

The Fort Worth Opera chose to celebrate the opening of its 70th season by commissioning a new opera, with music composed by David T. Little to a libretto by his frequent collaborator Royce Vavrek. The opera’s commission was intended to commemorate President John F. Kennedy’s early morning hotel stay and campaign breakfast in Fort Worth in the hours before his … Read more

The Houston Grand Opera mounted Broadway director Rob Ashford’s production of Rodgers’ and Hammerstein’s dark classic “Carousel” with an appealing cast of opera singers, led by Australian baritone Duncan Rock and American soprano Angela Carroll. [Below: Julie Jordan (Angela Carroll, left) stands by her man, Billy Bigelow (Duncan Rock, right) on a Maine coastal sea wall; … Read more

The Houston Grand Opera (HGO) assembled a strong cast for “Siegfried”, its third entry in its mounting (over four seasons) of Wagner’s “Ring of the Nibelungs” in an imaginative, often visually dizzying production from Spain’s Fura dels Baus. Jay Hunter Morris’ Siegfried Siegfried is a role that dominates all three acts of the opera, requiring power and … Read more

A theatrically effective, beautifully sung performance by Puerto Rico soprano Ana Maria Martinez, a newly revised production by British director Lee Blakeley tailored for the Dorothy Chandler Pavilion stage, and a dramatic reading of Puccini’s lush score by Maestro James Conlon were among the highlights of the Los Angeles Opera’s production of Puccini’s “Madame Butterfly”. [Photo: Ana Maria Martinez … Read more

Composer Carlisle Floyd, who turns 90 this summer, created the lyrics and music for yet another master work for the Houston Grand Opera, the company in which so much of the Floyd Legacy is invested. The opera, “Prince of Players”, is based considerably on the 2004 movie Stage Beauty. In Floyd’s deft hands and incorporating the inspired direction of … Read more

Sir David McVicar’s theatrically effective production of Massenet’s “Manon” returns to The Dallas Opera, starring Illinois soprano Ailyn Pérez in the title role and Pennsylvania tenor Stephen Costello as the Chevalier des Grieux. [Below: The Chevalier des Grieux (Stephen Costello, top) affectionately tickles Manon (Ailyn Pérez) in their Parisian apartment on the Rue Vivienne; edited image, based on … Read more

The Seattle Opera had divided its seven performances of Donizetti’s “Maria Stuarda [Mary Stuart]” between two casts, the first scheduled for five performances, the second for two. Lyric soprano Joyce El-Khoury was assigned two performances – a Sunday matinee after the opening Saturday night performance and, a week later, a Saturday night performance. However, the artist who … Read more

The Seattle Opera presented its first ever performance of Donizetti’s “Maria Stuarda (Mary Stuart)”, an opera that requires the casting of two vocally impressive and dramatically effective sopranos as the rival queens, Elizabeth the First of England and Mary, Queen of Scots. Although the Seattle Opera originally intended that two casts would share the lead parts of Mary, … Read more