Tag Archives: Florida Grand Opera
At the end of Florida Grand Opera’s beautifully performed and comical edition of the Mozart farce Cosi Fan Tutte, you’ll want to take the heroes into a dark alley and beat them with a two-by-four.
By successfully depicting the sadistic emotional vise that the heroines are crushed in, director Bernard Uzan and a glorious cast intentionally or unintentionally gut the opera’s blithe misogynistic ethos.
An anonymous donor has pledged to match any donation to keep Florida Grand Opera from eliminating Fort Lauderdale performances from its 2015-2016 season, the company announced Monday. But without pledges from other donors by Jan. 31 to be matched, large-scale opera productions would disappear from Broward County
In 2014, no one should be able to make the ludicrous thrust of Madama Butterfly remotely credible, yet Florida Grand Opera’s 74th season opener produces a perfectly plausible tale of an abandoned woman’s impossible devotion to a love unworthy of her goodness. Much of this is due Kelly Kaduce’s enchanting performance.
Usually there isn’t anything sexy or newsworthy about real estate in the world of theater unless it’s Glengarry Glen Ross. But as the season approaches, South Florida hasn’t seen so much packing and unpacking, opening tubes of Ben Gay, filling out of change-of-address cards, remodeling, scanning blueprints and updating websites as in the past season and the one coming up
Although Eglise Gutiérrez’s performance in the title role of Thais is indeed glorious, equally fascinating in the current edition at Florida Grand Opera is what happens when no one is singing.
One advantage of Florida Grand Opera mounting a beloved classic is the audience knows when it’s being done well, and the audience opening night certainly recognized the current revival of the Tosca as a thoroughly entertaining, satisfying and solidly-executed edition.
In addition to the two major productions still running that opened earlier this month and the four productions that opened last week, there will be 10 – count ‘em 10 – productions opening this week, not to mention five more opening the following week.
With its ingenious, acrobatic score, and exceptional singers who could handle both the drama and the demands, FGO’s No Exit may have been a depiction of hell, but the production was hot damn perfection. The only regret was that this was a three-day run. If you must, go through heaven and hell to get to the final performance of this production tonight. It’s a once in lifetime experience.
On opening night at Florida Grand Opera’s production of Nabucco, the audience joined the chorus singing “Va, pensiero, sull’ali dorate.” The sing along was the highlight of an otherwise entertaining if not especially thrilling rendition of Verdi’s first major success notable because two of the three or four singers willing to do the role of Abigaille had been hired by FGO.
It’s impossible to say whether Marvin David Levy’s Mourning Becomes Electra is The Great American Opera that it has been touted to be, but it unquestionably is a glorious spectacle of raging passions that deserves to be seen and heard not just at the Broward Center but around the world.