(Boston, MA) Many an opera is devoted to women’s pre and post connubial anxieties. With all of the riches for women, one must ask where are the men? In Miss Havisham’s Wedding Night Dickens’ spinster is an anti-heroine reliving a decades old tragedy. In The Beautiful Bridegroom, a Lady, her daughters and maid all wish for wedded bliss. If weddings are such fun, there should be operas from the giddy perspective of tenors in tuxes and basses in vestments. A person is supposed to like the person they marry. For all its progress, opera has further to go.
(Boston, MA) Ethel and Julius Rosenberg were accused of delivering crucial information on the creation of the atomic bomb to the USSR in 1953. This case, considered one of the most infamous spy cases in US history, validated HUAC and contributed to the country-wide paranoia known as the Red Scare. Such attacks on communist affiliates is similar to the current presidential administration’s attacks on socialism. The Rosenbergs(An Opera) considers the couple accused of treasonous espionage. It proves that the American government and the people it claims to serve have changed very little in the last 65 years.Continue reading →
Presented by Boston Lyric Opera Music by Kurt Weill Libretto by Bertolt Brecht English translation by Michael Feingold Original German text based on Elisabeth Hauptmann’s German Translation of John Gay’s The Beggar’s Opera Conducted by David Angus Stage directed by James Darrah
(Boston, MA) 3Penny is not your Daddy’s stodgy traditional opera. Kurt Weill and Bertolt Brecht were communist rabble rousers hell-bent on challenging the operatic form. They were freedom fighters rebelling against the Nazis through theatre. A stalwart Marxist, Brecht wanted to destroy opera’s association with the bourgeoisie. Weill believed opera could belong to the proletariat if given the opportunity. Both would have appreciated the BLO’s production of The Threepenny Opera. Opera purists would not. Continue reading →
(Cambridge, MA) The Harvard College Opera succeeds in creating a production of Die Fledermaus with the boozy haze that one would associate with a show that sings a tribute to champagne, dubbed “the king of wines!” How else would a woman, Rosalinde (Veronica Richer, a marvelous soprano), successfully disguise herself from her husband, Eisenstein (Ethan Craigo), with a flimsy mask? Why else would an innocent man, Alfred (the charming Samuel Rosner), happily go to prison instead of the husband of his beloved? The logic of this operetta is certainly rooted in the logic of being pleasantly drunk. It’s only when the show becomes more interested in its sensibility than its story, like someone drinking under the impression he’s far funnier and balanced than he thinks he is, that it begins to wobble.Continue reading →
(Davis Square, Somerville, MA) The Werewolf fooled me. Genuinely fooled me. I don’t know if that was its intention, but it did. It begins wholly in the realm of operatic convention. Alice (Jeila Irdmusa/Katie O’Reilly) wanders through the dark woods, possibly beset by something terrible. She meets her sisters, played by Nathalie Andrade, Elizabeth Clutts, Brooke Dircks, and Rebecca Wright, and they frolic. Then she encounters a handsome young man (played fantastically by Andy Troska through out the play) and they, well, also frolic, though in a much more suggestive way. Then we jump forward to Alice and her sisters preparing for her wedding, where Bertrand (Nick Stevens) reveals a werewolf (or loup-garou) is on the loose and the charming, flamboyant Vincent (Von Bringhurst/Nora Maynard) is referred to as a man of “unusual tastes,” everyone starts kissing each other, and the ethereal aura of the beginning collapses into a riotous comedy of errors with supernatural elements and a prominent queer subplot. Continue reading →
Presented by White Snake Projects Creator and libretto by Cerise Lim Jacobs Composed by Julian Wachner Directed by Mark Streshinsky Conducted by Lidiya Yankovskaya Dramaturgy by Cori Ellison Choreography by Yury Yanowsky
“The city does not need the sun or the moon to shine on it, for the glory of God gives it light, and the Lamb is its lamp.” Revelation 21:23, Bible,New International Version (NIV)
(Boston, MA) White Snake Projects is giving the BLO a run for their money. It’s my sincere hope that artists and their audience will watch the works of both companies but, if one has to choose, WSP may be the winner in the competition for attendees. Its edgy productions are worth the commitment.Continue reading →
Sung in German with supertitles, dialogue in German for performer acting and audience comprehension compatibility.
Review by Kitty Drexel
(Boston, MA) Beethoven nails the human condition with his only opera. Fidelio is about the lengths we go to for those we love. Yet, Beethoven reminds us, it is unwise to underestimate the insecurities of the vengeful. NEMPAC’s production was a challenging joy.Continue reading →
Photo by Dan Busler Photography — with Sam DeSoto, Melanie Bacaling and Andrew Miller.
Presented by Boston Opera Collaborative
Music by Conrad Susa and Libretto by Philip Littell
Directed by Greg Smucker
Music direction by Brendon Shapiro
Based on the scandalous 18th century novel by Pierre Choderlos de Laclos.
(Cambridge, MA) Two portraits of women, written over a century apart. The first is an idealized character looking to not only marry, but be subsumed by her husband’s identity in a happy, storybook life. In German, she sings of having no desire beyond being this man’s wife. She is the heroine of Robert Schumann’s Frauenliebe und -leben (A Woman’s Love and Life) from 1830, itself based on a series of poems by Adelbert von Chamisso. Two men filter the story of a fictional woman, a touching if pastel view of a girl coming of age. Carley DeFranco breathes life into this creature (also played by Susannah Thornton, Rhaea D’Aliesio, and Julia Cavallaro, depending on one’s tour of the Zabriskie House mansion where the show is staged) with a Disney-esque sweetness. Continue reading →
(Cambridge, MA) I love immersive theater when done well. I thought I’d take a moment to explore MIRROR, a one-weekend song cycle show based on Robert Schumann’s Frauenliebe und -leben and Dominick Argento’s From the Diary of Virginia Woolf. Continue reading →