Concert and opera reviews from Southern California.
Sydney Mancasola gave the finest singing of the evening as Pamina…Her effortless, crystalline voice and clear, pellucid tone carried the words in the most musical and expressive way.
Read MoreGustavo Dudamel, the LA Phil’s departing Music Director, conducted his final opera in a hall designed by the late architect Frank Gehry (who also designed the opera’s sets.)
Read MoreEach half of the concert began with a video of Mr. Conlon’s career overview and congratulatory messages from his colleagues (including, surprisingly, Placido Domingo!)
Read MoreThe production itself is a happy resurrection of the late Lee Blakeley's 2013 staging; it is handsome, well-crafted, sensitive, straightforward, and without an ounce of directorial pretention.
Read MoreNadine Sierra is, without a doubt, a fine mistress of belcanto singing. But what sets her concert apart was her down-to-earth demeanor as a ‘Miss Congeniality’ diva…
Read MoreCountertenor John Holiday as the titular pharaoh, an otherworldly figure both physically and vocally. Holiday's instrument is a marvel.
Read MoreUnder the spirited baton of Resident Conductor Lina González-Granados, this revival of a 30-year-old production radiates with fresh energy and high emotions.
Read MoreThe LA Opera staging recreates the original 1950’s New York set and costumes from Chicago...The blue jeans and tenement housing fire escapes onstage contrasted sharply with the elegantly dressed opening night audience
Read MoreLots of social media buzz surrounded a cast change announced in May, adding the celebrated Cuban-American coloratura soprano Lisette Oropesa as the first Gilda and relegating Kathryn Lewek, the original Gilda, to the second.
Read MoreIn transcribing Mr. Zvulun’s operatic staging to the Pacific Symphony’s concert stage, director Gregory Luis H. Boyle admitted having to redesign the video projections and the sets, but keeping the same costume and storytelling concept.
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