By Ilana Walder-Biesanz
SAN FRANCISCO – Richard Strauss’ lyric comedy Arabella languishes on the edges of the core operatic repertoire, but its charms were evident at the San Francisco Opera with German conductor Marc Albrecht making his U.S. opera debut.
By Arthur Kaptainis
TORONTO – Despite a story of fiery passion and a score with many highlights, Rufus Wainwright’s second opera needs a rewrite. The Canadian Opera Company brought a dream production team and a stellar cast to the premiere.
By Susan Brodie
NEW YORK – The Orchestre Révolutionnaire et Romantique played two Carnegie Hall programs of music by the French composer under John Eliot Gardiner, awakening ears to arresting period-instrument colors.
By John W. Lambert
LONDON – The Royal Opera House’s concert version of the 1749 oratorio featured a superb cast, the orchestra of the Early Opera Company led by founder Christian Curnyn, and a dazzling showing from the Royal Opera Chorus.
By Susan Brodie
NEW YORK – David Lang’s The Mile-Long Opera asks the audience to walk through “a biography of 7 o’clock” told in fragments by 1,000 singers stationed along the High Line, an elevated rail bed on Manhattan’s far west side.
By Marvin J. Ward
CAMBRIDGE, Mass. – As part of its long-term project Ockeghem@600, Blue Heron vocal ensemble showcased the Missa Cuiusvis toni (Mass in Any Tone) and other works by the 15th-century composer Johannes Ockeghem.
By Anne E. Johnson
BROOKLYN – Ted Hearne’s new opera, Place, with a libretto co-written by slam poet Saul Williams, explores the stresses of gentrification – which is seen all around the world premiere’s venue, the Brooklyn Academy of Music.