link to Anne Midgette's post about burgeoning (reburgeoning?) opera scene
Shoestring productions? I just saw a wobbly fabric set on Washington National Opera's stage for Barber of Seville -- you know the kind that looks like the masonry wavers at the slightest touch? I made no remark about it before because I figured it was a budget issue and we were still getting the best of singing and music.
People are still overlooking a fine conservatory company in Baltimore, the Peabody Opera (and its chamber opera subsidiary), but someone has commented on this in Midgette's post.
And I just read Joe Banno's review through a link in Midgette's post which I mention for the record after my last post and won't comment further except to say that it's not good to criticize physical aspects of a production too much in these times, and even in the best times a set design like that has charms. Outside of the set, we (or at least I) still mainly want to hear the singers and the orchestra and see how the singers give life to their characters through their acting.
May 4, Brighton Dam Azalea Gardens
1 week ago