By Konstantin Bozhinov
VANCOUVER — In its world premiere by Vancouver Opera, Neil Weisensel and Shane Koyczan’s opera comes across as a brilliant depiction of librettist Koyczan’s experience as an overweight teen taunted and beaten up by peers.
By William Albright
HOUSTON — In her first-ever performance in Verdi’s Otello, Ailyn Pérez proves she has the qualities needed to succeed in this challenging role. Her Otello in the Houston Grand Opera production is New Zealand tenor Simon O’Neill.
By Richard S. Ginell
DIGITAL REVIEW — The inventive Dutch composer’s La Commedia is a burst of audacious and eclectic ideas — based on Dante’s The Divine Comedy — in its CD/DVD debut. Expect equal helpings of shock tactics and lyricism.
By Susan Elliott
NEW YORK – The relentless historical and emotional weight of The Death of Klinghoffer is carried not by the victim or his executioner. It’s the chorus that recounts the carnage and voices the sorrow, the sickness, and the rage.
By Colin Eatock
TORONTO – There aren’t many orchestras with an exclusive commitment to new music like Esprit, led by Alex Pauk. Ives’ 1906 Central Park in the Dark, on a recent bill, may be the oldest work the group has ever performed.
By Rebecca Schmid
BERLIN – The Komische Oper and Staatsoper opened the season with new productions that fell flat. Barrie Kosky’s La belle Hélène offered strangely little Offenbach, and ‘Tosca,’ led by Daniel Barenboim, veered toward Wagner.
By Rebecca Schmid
VIENNA – Rudolf Buchbinder, who will play Stateside with the Boston Symphony under Thierry Fisher Oct. 16-21, is not a man of compromises. For several years, he has made only live recordings and usually travels without scores.
By Robert Commanday
SAN FRANCISCO — With Julianna Di Giacomo in her San Francisco Opera main stage debut as Amelia, the current Un ballo in maschera ranks with some of the better ones of a past illuminated by the great stars of the last 83 years.