William Burnett

Francesca Zambello, General Director of the Glimmerglass Festival, brought her imaginative production of “La Traviata” to the Festival’s Alice Busch Theater. Zambello conceives the party at the opera’s beginning as Violetta reliving of her first meeting with Alfredo while she, on her death bed, awaits Alfredo’s promised arrival. [Below: the final quintet from Verdi’s “La … Read more

The Glimmerglass Festival presented the world premiere of an important new opera, with a libretto by Tazewell Thompson, by Broadway musical composer Jeanine Tesori (who won a 2015 Tony for Fun Home), . The opera is concerned with the impact on a Harlem policeman, his wife and their community when the policeman’s son is shot … Read more

The 2019 Glimmerglass Festival includes a new production of John Corigliano’s opera “The Ghosts of Versailles”. It is a sprawling work whose complexity has limited the venues that have performed it. The Glimmerglass Festival has taken on the challenge of presenting the work in a co-production with France’s Château de Versailles Spectacles. The Glimmerglass Festival’s … Read more

The Santa Fe Opera, for the second time in its history, presented Bizet’s “Pearl Fishers”, beautifully sung by its four principal artists. Corinne Winters’ Leila Maryland soprano Corinne Winters performed the role of the priestess Leila, skillfully negotiating the coloratura runs of O dieu Brahma! and enlisting her beautiful lyric voice for the luxuriously melodic … Read more

The Santa Fe Opera opened its 2019 season with a new production of Puccini’s “La Boheme”, directed by Mary Birnbaum. Vanessa Vasquez’ Mimi The evening proved to be a triumph for Arizona soprano Vanessa Vasquez as Mimi, leading an impressive young cast. [Photo: Mimi (Vanessa Vasquez, standing, center) joins (seated from left to right) Rodolfo … Read more

The San Francisco Opera’s final offering of its 2018-19 season was Sir David McVicar’s production of Dvorak’s “Rusalka”, the story of a human Prince and the water-sprite Rusalka, each an inhabitant of a separate world. Although Rusalka and the Prince both wish to love one another, the forces that weigh against that love ultimately dooms … Read more

For only the second time in its history, the San Francisco Opera mounted a production of Handel’s operatic masterpiece, “Orlando”. Its first series of performances took place 34 years ago, during a time when baroque opera was only beginning to be performed regularly after an absence from the operatic stage of two centuries. For 2019, … Read more

The San Francisco Opera typically mounts five operas every fall and mounts three more the following summer. Tonight the second part of the company’s 2018-19 season opened with New York director Francesca Zambello’s production of Bizet’s “Carmen”, based on Zambello’s 2006 production for the Royal Opera House, Covent Garden and the Norwegian Opera. J’Nai Bridges … Read more

The Spanish opera, “El Gato Montés”, composed by Manuel Penella in 1916, was mounted by the Los Angeles Opera for the second time in a quarter century. The opera is most famous for its immediately recognizable second act pasodoble, an orchestral interlude that has become the music most heard in association with bullfight ceremonies. Penella … Read more

The Dallas Opera mounted the late Lee Blakeley’s attractive production of Verdi’s final masterpiece, “Falstaff”, based on Shakespeare’s “The Merry Wives of Windsor”. The cast assembled for the ten principal roles was an extraordinary array of operatic talent, as fine a cast as one can imagine for the work. Mark Delavan’s Falstaff Much of Arizona … Read more

The Houston Grand Opera mounted Danish director Kasper Holten’s production of Mozart’s “Don Giovanni”. Holten’s concept departs from traditional ways of presenting Mozart’s operatic masterpiece – where the Don is dragged to Hell by a ghostly stone statue. Kasper Holten’s Production, Es Devlin’s Sets and Luke Halls’ Video Design [Photo: the upper floor rooms (left … Read more

American baritone Thomas Hampson and his real life son-in-law Italian-born bass-baritone Luca Pisaroni melded their personas in a beautifully sung and impressively acted operatic biopic of Mozart’s illustrious librettist, Lorenzo da Ponte. The opera, whose music was by Irish-born American composer Tarik O’Regan, and its libretto, by British director John Caird, proved to be an … Read more

The Los Angeles Opera, which had never previously performed Mozart’s “La Clemenza di Tito [The Clemency of Titus]”, presented a sumptious new production of the work, created and staged by New York director Thaddeus Strassberger. Equally brilliant was the musical performance, conducted by Los Angeles Opera music director Maestro James Conlon, with world class performances … Read more

The San Diego Opera presented a physically attractive, dramatically effective, and beautifully sung performance of Verdi’s “middle period” masterpiece, “Rigoletto”. Stephen Powell’s Rigoletto Baritone Stephen Powell was Rigoletto. Powell has vocal power and strength in the upper part of the baritone range, both prerequisites to taking on this iconic role. Powell’s voice has a lyrical quality that … Read more

The Seattle Opera’s production of Verdi’s “Il Trovatore” casts two artists for the principal roles, each singing four of the eight scheduled performances, while other cast members perform their role eight times. This report is of Sunday matinee, which was the Seattle Opera debut for each of the opera’s four principal artists – Angela Meade, … Read more

The Seattle Opera mounted an adventurous production of Verdi’s “Il Trovatore” with two commanding casts. This review chronicles the production’s opening night, led by the Leonora of Leah Crocetto, the Manrico of Arnold Rawls, the Count di Luna of Lester Lynch and the Azucena of Elena Gabouri, scheduled to repeat January 16, 20 and 25, … Read more