The party scene put a pit in my stomach, as did everything that came after. The confusion, the horrid feeling of not knowing - but kind of knowing - what happened during a blackout, the inadequate explanations to friends and boyfriends, it was all too true.
"There's nothing I like better than planning programmes," says Davis, of his enthusiastic stepping in as the TSO's Interim Artistic Director. But, eager to pass the torch officially to Gimeno, "the next season will be Gustavo's."
I wanted to be Billy Joel when I was growing up because he was a classically trained pianist too. He wrote his own music, sang his own stuff, arranged his own music, his songs, and told a story.
Like the jewels she wore (and there were many), soprano Kristina Mkhitaryan sparkled in the starring role, singing with agility, clarity, and show-stopping emotional depth. Her soft, liquid entrances in "Addio, del passato" melded impeccably with the plaintive oboe solo.
This semi-staged production at the Southbank Centre's Royal Festival Hall with the London Philharmonic Orchestra had none of that. Well, except for the drama. There was a lot of drama.
At times the stage was so overcrowded with schtick it was overwhelming. Banana jokes, chamber pot humor and smoke machines did not add to the talents of the cast or the beauty of the music.
Florida Grand Opera's Le nozze di Figaro, which opened on January 26 at the Adrienne Arsht Centre in Miami, took an uncharacteristically introspective look at this iconic comedic favourite, in a production that asked all the right questions, but sacrificed some laughs along the way.
The crowd, full of fans of all ages, shared a level of love and nostalgia for the work of John Williams and George Lucas that rivals opera fans' loyalty to Verdi and Wagner.
It's a silly thing, but even the most hardcore of introverts struggle with the idea that while they sit happily alone at a table or in a movie theatre, the people around them will notice and think they're a weird loner.
Martínez's inimitable dulcet vibrato tones had a way of embodying the butterflies into which her character eventually transforms. Anybody wanting an avenue to approach this opera would do well to begin with her music, which offers this opera's most audible links with the traditional Puccinian repertoire which is her specialty.