Opera
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Naked and Afraid: Yael Farber’s “Salomé” (review)
The Shakespeare Theatre Company's Salomé is a challenge on several fronts, but it's one you consider accepting
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Grand Transformations: “As One” at UrbanArias
As One explores a contemporary inner struggle in a classical medium
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Delayed Launch: Washington National Opera’s “Carmen”
Carmen doesn't quite take off until the second act, but it's a flight worth taking
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Review: Cinderella at the Washington National Opera
WNO's Cinderella is joyous, humorous and eminently accessible for opera novices
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Seaworthy: The Flying Dutchman returns to DC
The Washington National Opera revives a much-improved Flying Dutchman
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Dialogues of the Carmelites (Review)
The Washington National Opera’s Carmelites resonates with dark, complex themes
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Review: WNO’s “La Boheme”
WNO's "La Boheme" is saturated in uncompromising quality and creative detail
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Operatic Intent
UrbanArias finds “winning combination” to attract new opera fans
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The pop opera of UrbanArias
UrbanArias finds "winning combination" to attract new opera fans
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Primary Colors: “The Magic Flute”
There are beautiful singing voices in WNO's Magic Flute, yet much is still out of tune
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Love Is the Drug
Although people often call Donizetti’s rom-com The Elixir of Love a good opera for the uninitiated, director Stephen Lawless’s production requires a caveat: Remember that...
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Whale Song
There is a special hell for serious music-lovers, and in one molten corner resides a certain kind of contemporary classical that puts more emphasis on...
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One Way or Another
The funny thing about the Washington National Opera's production of Verdi's The Force of Destiny is that it actually works. Despite an awkward first scene,...
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Showy Boat
In a second act scene in Show Boat, the character Magnolia auditions to be a singer at Chicago's popular Trocadero Club. Magnolia was a star...
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Who's That Girl?
In the words of Jean Genet, ''Anyone who hasn't experienced the ecstasy of betrayal knows nothing about ecstasy at all.'' And anyone who likes their...
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