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Ancient mysteries astonish and delight at IN Series’ Women Composers Festival

'Here Be Sirens' is the phrase cartographers used for many centuries to warn sailors of marine dangers. Composer Kate Soper borrowed the name for...

WNO’s ‘Don Giovanni’ signals the cultural and healing power of Washington’s...

The Washington National Opera’s current production of Mozart’s Don Giovanni confirms two important ideas. The first is that while opera is most effective when...

J’Nai Bridges’ debut in ‘Samson and Delilah’ is a dream come...

When J’Nai Bridges made her triumphant debut in Camille Saint-Saëns’ Samson and Delilah Sunday night, it was the fulfillment of a dream. The young mezzo-soprano’s...

Opera Lafayette debuts sophisticated recreation of Beethoven’s ‘Leonore (1805)’

Thanks in part to the bold addition of a missing tenor aria, Opera Lafayette’s elegant production of Ludwig van Beethoven’s Leonore (1805), last night...

‘Cinderella’ (La Cenerentola): Well-sung Rossini at Virginia Opera

Spoiler alert: Cinderella and the Prince live happily ever after. Of course, since Virginia Opera, like all opera companies of any size, prints a...

WNO’s American Opera Initiative 2020 is an essential take on opera...

“It’s a ridiculous thing to sing at the top of your lungs about your vulnerability,” American composer Laura Kaminsky observed to this year’s Washington...

Review: ‘Butterfly’ by the IN Series Presents a Radical Restructuring of...

While considered one of the classics in opera’s storied canon, Madame Butterfly by Giacomo Puccini is simultaneously acknowledged to be one of the most...

Review: ‘The Juliet Letters’ by UrbanArias

UrbanArias delivers a physical, aural, and emotional journey in their brilliant interpretation of Elvis Costello and the Brodsky Quartet’s The Juliet Letters. Based upon...

WNO’s ‘Tosca’ Serves Up Classic Opera Comfort Food Done Right

The Washington National Opera’s (WNO) fine opening night performance of Puccini’s Tosca provided an opportunity for catharsis and reflection, two things our overwrought city needs...
The Baltimore Symphony Orchestra performs at the Strathmore Music Center. Photo courtesy of the BSO.

Review: Baltimore Symphony Orchestra’s ‘Porgy and Bess’ a Crowd-Pleaser

Let’s get the persnickety stuff out of the way first. Then we can get to why the Baltimore Symphony Orchestra’s second Porgy and Bess...

Review: ‘La Paloma at the Wall’ by The In Series

The In Series at GALA Theatre has succeeded in brilliantly breathing life into a treasured zarzuela – a blend of song and dance –...

Review: ‘Carmen’ by Annapolis Opera

There was a moment in the first act of Annapolis Opera’s Carmen in which Director Fenlon Lamb assembled her cast in a colorful tableau...

Review: ‘An Evening Of Mozart: The Da Ponte Operas’ by Maryland...

The Maryland Lyric Opera (MDLO) presented an evening of an assortment of Wolfgang Amadeus Mozart’s musical excerpts from three of his most esteemed operas--The...

Review: ‘Faust’ by Washington National Opera at the Kennedy Center

It’s been a quarter of a century since Satan came to call on the Kennedy Center, but the Washington National Opera’s production of Faust...

Review: ‘Eugene Onegin’ at Washington National Opera

Of all the grand tear-jerkers, those epic romances that make you want to tear your heart out and roast it on the barbecue, Tchaikovsky’s...

American Opera Is Becoming Its Own Genre and It’s Happening Here...

Opera in America has had the stink of death upon it for some time now. Lavish productions of period piece love stories and power...

Soloman Howard: Southeast’s Operatic Superstar Reprises ‘The Lion, the Unicorn, and...

Growing up in Southeast DC, Soloman Howard had a godfather who saw to it that the young singer’s obvious basso gift did not languish...

Review: ‘Silent Night’ at the Kennedy Center Washington National Opera

The Washington National Opera’s current production of the opera Silent Night is a shattering indictment of the futility and waste of war set during...

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