February 26, 2017 • 6:03 pm
Melody Moore sings the title role in “Katya Kabanova” on opening night at Seattle Opera. (Jacob F. Lucas)
My Seattle Times review of the new Katya Kabanova* production at Seattle Opera:
Nearly a century after it premiered, Leoš Janáček’s “Katya Kabanova” has made it to the Seattle Opera stage for the first time. The Czech composer’s portrayal of a sensitive young woman desperately in need of an escape route from her repressive surroundings contains all the ingredients for a searing music drama.
*following the company’s English rendition of the title, sans diacriticals
Filed under: Leoš Janáček, review, Seattle Opera
January 17, 2017 • 8:00 am
La traviata director Mika Blauensteiner, in rehearsal at Seattle Opera
This familiar story of Violetta, her love, and death is the world’s most-performed opera. With new staging that marks the North American debut of the German director Peter Konwitschny, Seattle Opera hopes to shed fresh light on Verdi’s 1853 masterpiece.
Filed under: directors, Seattle Opera, Seattle Times, Verdi
January 3, 2017 • 10:40 am
I found the above image accompanying a review of The Cunning Little Vixen (aka Das schlaue Füchslein) from a Wiener Staatsoper production reviewed on Bachtrack.
Am I imagining things, or is this uncannily reminiscent of Seattle Opera’s so-called “green Ring” set?
Filed under: Seattle Opera, Wagner
October 18, 2016 • 8:16 am
Sasha Cooke (Hansel) and Ashley Emerson (Gretel); photo by Philip Newton
Absurd as it sounds, there was a time in the early 20th century when Hansel and Gretel was regularly performed at the Metropolitan Opera on a double bill with Pagliacci. And its longstanding association with Christmas – Richard Strauss, after all, conducted the world première in Weimar on 23 December 1893 – has reinforced a general impression of Engelbert Humperdinck’s opera as a light entertainment, a candied appetiser in need of more substantial fare to balance it out if presented as part of a regular opera season intended for adults.
Filed under: review, Seattle Opera
October 13, 2016 • 9:30 am
My latest Seattle Times story:
Growing up in a Chicago suburb, soprano Marcy Stonikas was more musically active than the average American teen. She played in the high-school band, attended symphony concerts regularly, sang jazz and took part in musicals…
Filed under: Seattle Opera, Seattle Times
Lawrence Brownlee; photo (c) Johnny Andrews/The Seattle Times
My profile of Lawrence Brownlee is out in today’s Seattle Times. The world-class tenor is back in town to star in Rossini’s Count Ory at Seattle Opera:
He’s in demand around the globe, a favorite of music lovers at the most prestigious venues for classical music.
But Lawrence Brownlee reserves a special fondness for Seattle.
Filed under: Lawrence Brownlee, Rossini, Seattle Opera, singers
© Philip Newton
My review of Wagner’s Dutchman at Seattle Opera has been posted on Bachtrack:
Though the legend of a seaman doomed to sail forever was already hackneyed by the time he took it up, it was through his idiosyncratic treatment of this material that Richard Wagner first found his authentic voice. “Do you fear a song, a picture?” sings the heroine Senta in her first confrontation with Erik, her hapless suitor.
But Wagner was well aware of the dangerous potential art possesses when the goal is no longer escapist entertainment. So is director Christopher Alden, whose production (originally created for Canadian Opera Company two decades ago) mirrors the young composer’s sense of thrilling new horizons beyond routine and convention.
Filed under: directors, review, Seattle Opera, Wagner
Joyce El-Khoury in the title role of Maria Stuarda; image credit: Jacob Lucas
My review of Maria Stuarda at Seattle Opera — where soprano Joyce El-Khoury has made a spectacular company debut — is now posted on Bachtrack:
Tudormania continues its invasion of America. Later this month at the Met, Sondra Radvanovsky will have added the third and final jewel to her Donizetti crown when she sings Elizabeth in Roberto Devereux. And across the continent, Seattle Opera has been presenting its company debut of Maria Stuarda (1835).
Filed under: bel canto, directors, Donizetti, review, Seattle Opera
January 18, 2016 • 9:23 am
Shenyang (Figaro) and Nuccia Focile (Susanna)
(c) Jacob Lucas
Aidan Lang, head of Seattle Opera, reveals his talents as a stage director in a fresh and engaging interpretation of Mozart’s comic masterpiece.
The buzz around Seattle Opera’s new Figaro is that it offers audiences here their first chance to see company chief Aidan Lang in his guise as stage director. This production originated to much acclaim in 2010 at New Zealand Opera, which Lang helmed until 2013. The current season is his second since succeeding Speight Jenkins as general director at Seattle Opera.
Filed under: Mozart, review, Seattle Opera
The cast and orchestra of Seattle Opera’s Nabucco. © Philip Newton
My Bachtrack review is now live.
(I think I managed to catch all the autocorrects that
were turning “Nabucco” into “Nabisco.”)
On paper, Seattle Opera’s new production of Nabucco sounded enticing. General Director Aidan Lang generated buzz about the ‘innovative staging concept’ we should anticipate for the company’s first-ever presentation of Verdi’s third opera. Seattle Opera had meanwhile undertaken a rebranding effort that included a design facelift of its website to emphasise large, bold visuals — with billboard-style tags announcing Nabucco: ‘BETRAYED’ ‘TWISTED’ “EPIC’.
Filed under: directors, review, Seattle Opera, Verdi