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Dynamic and physical: Rinaldo at Oper Frankfurt
Three tiny, nearly-nude dancers painted from head to toe acted as freaky humanoid henchwomen to Armida. These impish women did Armida's bidding, transforming at different points into a three-headed monster, a forest, or mermaids, and stopping time to control various characters. A particularly striking moment was when Rinaldo sang "Abbruggio, avampo, e fremo" while being tormented and yanked around by the imps on three long ropes.
Read More"Humanity's bond to war": War Stories at O17
Beecher's score is a gripping manifestation of the heart-breaking and heavy content of the libretto. His choice to use the same instruments that were used in the Monteverdi is a brilliant blend of past and present. From the very first eerie sounds that welcome us into the world of the piece, one hears similarities to George Crumb's Black Angels, which is a response to the Vietnam War.
Read MoreAdi Braun, the Moderne Frau
"Any form of art is always influenced by the socio-political climate of its time. Certainly the freedom gained by the abolishing of the strict Wilhelmine regime was one part in creating a much more liberal and fertile ground for artistic expression. Yet with the rise of the Nazis artists saw and feared what was to come and expressed this in their works of art. The courage that performers had to give these often very risqué songs life is admirable."
Read MoreTamara Wilson gives a "flawless" Aida at WNO
While Zambello's attempt to create a modern, stylized Aida may have failed, this performance is a delight for the ears. Tamara Wilson's flawless performance alone is worth making the trip to the Kennedy Center.
Read MoreConversations "of the most urgent nature": We Shall Not Be Moved
We Shall Not Be Moved asks hard questions about race, gender, flaws in our education system, and more. This work brings up parts of history that many would have us sweep under the rug. Great art has the ability to teach us the difficult lessons our education has deliberately excluded. After the performance was over, Bill T. Jones said that he wanted this opera to start a conversation.
Read MoreA masked ball: American Baroque Opera Co.'s Opera Cabaret
This group has succeeded in being a passionate representative of Baroque opera as not merely an outlier that "comes before the real operas of Mozart, Puccini, Verdi, and Bizet", but as a vibrant, effusive, and brilliant genre sui generis that appreciates the love and devotion performers bring to it.
Read MoreA dreamy psychological thriller: Vanessa at Oper Frankfurt
Thoma presents the trio of women as three generations of the same person: Erika, the Baroness and Vanessa herself are all one immortal woman, eternally alone and suffering, stuck in time forever and unable to move forward. The Baroness embodies Vanessa's future as a bitter widow, while her niece Erika represents her past as a hopeful, beautiful, innocent young girl. As Erika laments, "Sometimes I am her niece/But mostly her shadow".
Read MoreThe stars align for Toronto Masque Theatre's final season
"I'm filled with so many emotions as I introduce you to our final season," says Beckwith. "I'm humbled to present many of Canada's leading performing artists – some TMT regulars alongside some new faces. I'm heavy-hearted as I contemplate the end of a magnificent journey. But above all, I'm excited to present to you an entertaining season of music, theatre and dance that I'm sure will demonstrate the accomplishments of this unique company and its place in the performing arts in Canada."
Read MoreA refreshing gateway drug: The Magic Flute at O17
While a new and forward-thinking production such as this Flute is of tremendous value, we must be wary of the cost on the performers themselves. There is a danger in productions where singers are made to fit into a sort of machine (see The Metropolitan Opera) and do not have total freedom to access their full range of expressive tools. These are the tools which would otherwise allow them to connect with the audience and portray their respective characters without limitation.
Read MoreLA Opera scores in first half of Bizet double-header
If you're someone who has seen little or no opera, Carmen is perhaps the perfect place to start because it's a perfect show; the libretto and score are true partners. Although the show runs about three and a half hours, the drama is so compelling and the music is so beautiful, you never find yourself looking at your watch (or, depending on your age, the clock on your cellphone).
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