Omar Is an American Operatic Masterpiece
/Rhiannon Giddens’ libretto successfully condenses Said’s book into a series of dramatic scenes that culminate in the unforgettable Act II slave auction scene…
Read MoreConcert and opera reviews from Southern California.
Rhiannon Giddens’ libretto successfully condenses Said’s book into a series of dramatic scenes that culminate in the unforgettable Act II slave auction scene…
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 MoreYuval Sharon’s electronic “décor” is probably closer to Wagner’s scenic directions than that of many a contemporary (or traditional) production.
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 MoreMany in the audience were enjoying themselves and applauding in sign language (shaking both hands in the air)…
Read MoreAmerican tenor Carl Tanner gave the finest singing of the evening as the tragic moor Otello. His “Esultate!” in Act 1 pealed through the thick stormy orchestra with a majestic ringing tone.
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.
Read MoreAngela Meade, replacing the indisposed Rodriguez, sang from the side of the stage, while choreographer Nicola Bowie acted the role of Queen Elizabeth in costume on stage.
Read MoreKosky’s staging retains the same whimsical delights– a black widow spider Queen, Monostatos & co. turning to the Rockettes, Pamina and Papageno hopping over rooftops like a video game.
Read MoreBarrie Kosky's production is a not-completely-traditional production with a few surprises along the way.
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