Reviżjonijiet tal-Produzzjoni Passata
9As the opera community grapples with its stained history of Blackface, refusing to cast Black performers, and subjugating Black stories, Blue is a welcome attempt to reverse course.
Other notable turns included Wehr’s dazzling high notes as a nurse in Act I and tenor Cameron Gray’s pleasing sound as a soloist at the funeral.
Some of the opera world’s most glorious voices are currently filling the Kennedy Center Opera House in the Washington National Opera’s dazzling production of Verdi’s “Il trovatore” (The Troubadour”). Directed by Brenna Corner, with Conductor Michele Gamba at the helm of the Washington Opera Orchestra, the fantastical tale features a fearsome love triangle, mistaken identity, the burning of an innocent Gypsy at the stake, and her daughter’s unyielding drive for vengeance.
"Lighting designer AJ Guban’s crimson, blue and stained-glass effects beautifully softened the edges of the set, while S. Katy Tucker’s projections deepened the psychological stakes."
“It is so terrifying that my soul wants to be extinguished.” So sings Klytämnestra on stage. The same might be said of Richard Strauss’ ability to bring the “pity and fear” (catharsis) of Greek tragedy (in the words of Aristotle) to the world of German opera. This spirit of mingling cultures and eras is carried over well in the current Washington National Opera (WNO) production of “Elektra.”
