From Elena Pankratova’s beginnings in the more Italianate repertoire to her current tenure in the Wagnerian repertoire, she continues rising as the wrathfully vengeful princess Elektra. Please enjoy my review and let me know your opinions.
Opera Review
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Intimately romantic twists and turns and various operatic references pepper Tobias Kratzer’s production of Richard Strauss’s Intermezzo with fascinating character dynamics. Please enjoy my review and let me know your opinions.
Overlooking my conflicting sentiments about Rolando Villazón’s overall vocal form as Idomeneo, his unique brand of charisma remains interesting. Please enjoy my review and let me know your opinions.
Elegance, femininity, and gorgeousness combine with confidently lyrical vocals and involving theatrical acting to make Maria Agresta’s performance of Cio-Cio-San engaging. Please enjoy my review and let me know your opinions.
Ascending from her beginnings in more florid roles to tackling the steelier ones, Olesya Golovneva tackles the irresistible yet unhinged Princess Salome of Judea. Please enjoy my review and let me know your opinions.
Daniel O’Hearn, a consistently rising full lyric tenor with a huge repertoire, abundant potential, and a brilliant future, tackles the role of the impassioned officer Matteo. Please enjoy my review and let me know your opinions.
Popular culture, political relations, and a mixture of film and literary genres entwine in John Adams’ Nixon in China at the Deutsche Oper Berlin. Please enjoy my review and let me know your opinions.
Maria Sardaryan gracefully and elegantly establishes herself as a lyric coloratura soprano buttressed with silky vocal clarity and organized discipline as the Queen of the Night. Please enjoy my review and let me know your opinions.
Growing from strength to strength as a brilliant spinto soprano with an ever-growing repertoire full of leading lady roles is Maria Motolygina and her astoundingly incredible vocal prowess. Please enjoy my review and let me know your opinions.
The slice-of-life character constellations remain strong with Tobias Kratzer’s production of Strauss’s Die Frau ohne Schatten, despite being void of its legendary fairy-tale roots. Please enjoy my review and let me know your opinions.