It was a good night for women everywhere. Read my review at Houstonia Magazine.
Some fantastic dancing and singing on Friday night at Houston Grand Opera, though not often at the same time. Read my review at Houstonia Magazine.
Nothing comes of pining for what could have been, but that’s where I found myself on Friday night at Houston Grand Opera’s Elektra. With reigning soprano Christine Goerke in the title role, I couldn’t help myself. Read my review at Houstonia.
A beautiful opera, no doubt about it. And it fared much better in the cavernous George R. Brown Convention Center than last week’s La Traviata. Read my review at Houstonia.
How do you review an opera after a natural disaster like Hurricane Harvey wipes out its hall for a season? It’s not anything I ever learned in school. At Houston Grand Opera’s season opening night of La Traviata on Friday, I heard all kinds of mixed emotions from the audience who, replete in black tie, clambered around the George R. Brown Convention Center hall HGO had valiantly converted into an opera theatre. Take a look at the varying reviews coming out. At Houstonia Magazine, mine is but one version of what’s going on and how to talk about it. Particularly, I admire Joseph Campana’s review at Culturemap–do check it out too.
Two pieces at Houstonia Magazine this week: the first, a review of Houston Grand Opera’s Abduction from the Seraglio in which Ryan Speedo Green stole the show, and the second, an interview with Gabriela Lena Frank about the world premiere of her Conquest Requiem this weekend with the Houston Symphony.
I have a lot of memories of this work, and with an opera company at the helm, it was a refined performance. But the thing I’ll remember probably won’t be the music (Sasha Cooke, resilient hero, my hat is off to you). Read my review at Houstonia.
On Inauguration Day, this opera hit close to home. Read my review at Houstonia Magazine.
And it opens with two contrasting (I use the term lightly) operas. I felt pretty indifferent to Donizetti’s Elixir of Love–in and of itself as an opera, it’s kind of inconsequential–but Gounod’s Faust! That opera is built for greatness. It was beautiful. A simply exquisite experience overall. You can read my reviews of Elixir and Faust at Houstonia Magazine.