Concert and opera reviews from Southern California.
The excellent musical team did their best to work with the meager materials they’ve got. From the podium, Lina González-Granados commanded the strong feeling for individual lines.
Read MoreThe English Concert orchestra, featuring period strings, a theorbo, two harpsichords facing each other, two recorders and oboes (played by the same players), performed like a veritable b’rock band…
Read MoreIsabel Leonard, the Donna Elvira,...gave a probing performance of the most troubled of the Don’s three female victims.
Read MoreThe director presented a dreamlike drama played by “real people” with naturalness of acting, and the musical standards were very high…
Read MoreThe English Consort, joining forces with the Clarion Choir and an international lineup of soloists, performed it complete. At nearly three hours, the oratorio seemed not at all long.
Read MoreAs LA Opera’s fourth mainstage production of the season, this all-new Marriage of Figaro is as distinguished as one could hope to see anywhere...
Read MoreMusically, this new Tosca cast is perhaps more exciting than the last. Angel Blue, singing her first Tosca in L.A., commands a fresh and bright soprano voice…
Read MoreHonorable mention also goes to L.A. Opera’s new chorus director Jeremy Frank, who enlivens many scenes with choruses that are fully engaging and energetic.
Read MoreThe flame burns the brightest with the Radames of tenor Russell Thomas, who combines elegance with fire, in phrasing and in control of dynamics.
Read MoreYoung dancers of the Hamburg Ballet, who were instructed to improvise and react to the specific words and passages in the music. It’s a novel approach that worked brilliantly.
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