Tag Archives: Florida Grand Opera
Florida Grand Opera’s presentation of La bohème is authentically true to Puccini’s original right down to the pink bonnet. Besides an impressive visual production, this would still stand because of the incredible matchups of the performers.
Some South Florida theaters are scrapping some of what they plan to put on stage this season or next. Some are leaving support positions unfilled. Some plan smaller cast shows. Some have sidelined plans for growth. Theaters are scrambling to cope with an unexpected 90 percent slash in state funding. But theater champions vow to fight back by organizing patrons and leading citizens to influence lawmakers.
News About Dramaworks’ January festival of readings of works in development, Susan Danis stays at Florida Grand Opera, Infinite Abyss and Island City Stage rename their home Wilton Theater Factory
News: Thinking Cap Beats Bway, Danis Leaves FGO, FIU Fosters Plays, Knight Offers Grants, Costume World Moving, Krasja Now BAA President
News of Florida Grand Opera, Florida International University, Knight Foundation, Broadway Across America and Costume World
Even more unflinchingly romantic than those starving Bohemians in the garret or those Egyptians being buried alive, the unalloyed passion coursing through Daniel Catan’s Florencia en el Amazonas in its first production at Florida Grand Opera is a pungent pleasure.
The sound coming from the Arsht Center stage is almost unearthly and totally unexpected unless you’ve seen the opera Orfeo ed Euridice or heard the unique sound of a counter-tenor before. The voice that ascends to the heavens emanates from a slight of stature man, but if you close your eyes, his high liquid tremelo could just as easily be coming from a female mezzo-soprano.
If it’s February, then theater companies are taking advantage of the visiting snowbirds presence to announce what they hope will be an enticing slate of titles for the 2018-19 season.
Someone asked opening night whether Florida Grand Opera’s Salome was anything like early productions when its psycho-sexuality caused it to be banned in a few countries. Well, it’s doubtful those productions mirrored FGO’s in which Salome thrusts the bleeding decapitated face of John the Baptist into her crotch and King Herod seems to sexually stimulate himself lying prone on the floor at the sight of Salome.
Florida Grand Opera promised a season of Divas to Die For, and it couldn’t have been more on point in that respect with its 77th season opener, Lucia di Lammermoor. Gaetano Donizetti’s bel canto masterpiece may not be as familiar to operagoers as some of the classics, but it’s a crowd pleaser with its 15-minute tour de force which plunges Lucia into hysteria, drama around every corner, and a Romantic score of beautiful melodies.
Opera is all about technique, spotlighting it, honoring it, celebrating it. So when Florida Grand Opera took on one of the most demanding works in the entire canon, Verdi’s A Masked Ball, it wisely hired accomplished singers whose polished skills are as dazzling by themselves as watching Olympic figure skaters.