William Burnett

The year of the 200th anniversary of the birth of Richard Wagner and the 50th anniversary of the Seattle Opera was the occasion for the latest and perhaps last revival of the Stephen Wadsworth production of his four opera “Ring of the Nibelungs”. Wadsworth’s extraordinary achievement, when  considered against the rest of the world’s current … Read more

The Santa Fe Opera revived Laurent Pelly’s 2009 production of Verdi’s “La Traviata”, which I have previously described in considerable detail [see Dessay’s Scintillating Role Debut as Violetta in Pelly’s Imaginative Santa Fe “Traviata” – July 3, 2009]. The revival includes most of Pelly’s concepts from the original production, although the second act sets are changed. … Read more

American oratorio composer Theodore Morrison and British stage director John Cox have collaborated on the creation of a new operatic work for counter-tenor David Daniels. The opera’s subject is the impact of a humiliating trial and brutal imprisonment of Irish author Oscar Wilde. A collaboration between the Santa Fe Opera and Opera Company of Philadelphia, … Read more

In an extraordinary revival of a once popular early 19th century work, the Santa Fe Opera presented its new production of Rossini’s “La Donna Del Lago (The Lady of the Lake)” to a sold out audience. The opera is based on Walter Scott’s famous poem The Lady of the Lake (not the same character as is associated … Read more

The 2013 Glimmerglass Festival celebrated the bicentennial of Richard Wagner’s birth with a new production of “The Flying Dutchman”. It also chose Giuseppe Verdi’s early comedy “Un Giorno di Regno” in a new American English translation as “King for a Day” as the bicentennial present for the Italian composer. The opera is comprised of scene … Read more

The 2013 Glimmerglass Festival alternates in rotation four musical evenings, of which one is a double bill whose two parts are entitled “Passions”. I have strongly recommended the first half of the double bill, the “Stabat Mater” [See Superlative: Anthony Roth Costanzo, Nadine Sierra, Ensemble Dancers Superb in Jessica Lang’s Visualization of Pergolesi’s Stabat Mater – … Read more

The Glimmerglass Festival, continuing General and Artistic Director Francesca Zambello’s commitment to American musical theater, mounted another of the classic mid-20th century hit musicals. “Camelot”, created by lyricist Alan Jay Lerner and composer Frederick Loewe, is generally based on the Arthurian legend and specifically on the latter part of T. H. White’s 1930s tetralogy, The … Read more

In one of the most extraordinary experiences an operagoer is likely to see, the Glimmerglass Festival mounted Jessica Lang’s production of Giovanni Battista Pergolesi’s 1736 “Stabat Mater (There Stands the Mother)” based on a 13th century Latin poem of uncertain authorship. The vocal music, written for two high voices, was sung by Countertenor Anthony Roth Costanzo … Read more

Stage director and impresario Francesca Zambello is in her third season as General and Artistic Director of the Glimmerglass Festival, located on Lake Otsego, New York. For the second consecutive season, she has staged a new production of a major  work from the standard operatic repertory. In celebration of the 200th anniversary of the birth … Read more

Having commented previously on its world premiere [see Warm Reception for Adamo’s “Mary Magdalene” – San Francisco Opera, June 19, 2013], I attended  sixth and last scheduled performance of Mark Adamo’s new opera in San Francisco’s War Memorial Opera House. This second report gives me a chance to give my further impressions of the work and of … Read more

Santa Fe Opera’s second 2013 summer festival offering was a revival of Mozart’s “Le Nozze di Figaro”, previously seen in the 2008 season. The Mozart comedy is one of humankind’s greatest masterpieces. It provided Santa Fe audiences with the chance to hear important new voices in the roles of Figaro and Cherubino, and established stars … Read more

Santa Fe Opera’s 2013 opera festival opened with a rousing new production of Jacques Offenbach’s 1868 comedy “Le Grande Duchesse de Gerolstein”. The evening was significant in many ways – introducing a new performing edition, and introducing a new English translation of the spoken dialogue  (the opera itself is sung in its original French). It … Read more

In my review of the Western Hemisphere premiere of Laurent Pelly’s new production of Offenbach’s “Tales of Hoffmann”, I remarked favorably on both the Pelly’s concept and on the bravura performance of Matthew Polenzani as Hoffmann [see Matthew Polenzani Triumphs in Pelly’s Take on “Tales of Hoffmann” – San Francisco Opera, June 5, 2013.] As with any … Read more

The San Francisco Opera presented the world premiere of composer-librettist Mark Adamo’s “The Gospel According to Mary Magdalene” in a strongly cast, visually effective production. Adamo wades into the controversies that divided Jewish sects at the time of Yeshua (Jesus). His libretto draws upon fragments of ancient accounts, re-discovered in modern times through the work … Read more

Mozart’s glorious comedy about the inconstancy of women returned to the War Memorial Opera House stage after an absence of eight years. Maestro Nicola Luisotti and Stage Director Jose Maria Condemi presided over a young but very strong cast in what proved to be an eye-pleasing, continuously entertaining, beautifully sung performance. Luisotti, after assuming the … Read more

Illinois native Matthew Polenzani, in an extraordinary exhibition of the art of the French lyric tenor, held the War Memorial Opera House stage for over three hours. Polenzani appeared in the title role of  French stage director’s fascinating re-conceptualization of Offenbach’s posthumous grand opera, “The Tales of Hoffmann (Les Contes d’Hoffmann)”. Matthew Polenzani’s Hoffmann The operatic character … Read more

There were winners all around at Los Angeles Opera, when Placido Domingo conducted a stellar performance of Puccini’s “Tosca”. The winners included the opera’s leading men – tenor Marco Berti as Cavaradossi and Lado Ataneli as Baron Scarpia. “Tosca’s” several important comprimario roles were well-cast also. The winners included the brilliant stage direction and production design … Read more

An extraordinary performance of Aida by soprano Latonia Moore and a strong showing as Amneris by American mezzo-soprano Jill Grove were among the highlights of a warmly received San Diego Opera performance of Verdi’s “Aida”. The Houston Grand Opera’s sets were used.  Designed by San Diego’s local celebrity artist Zandra Rhodes, her zany, color-drenched artwork … Read more