Tag Archives: Ramon Tebar
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.
A quick roundup of miscellaneous miscellany and assorted assortments.
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.
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.
Say what you will about artifice and overheated emoting, few art forms other than Harlequin novels can touch opera for depicting idealized love. What fascinates about Florida Grand Opera’s production of Puccini’s rarely-seen La Rondine is how the fantasy of love collides with the realities of social-climbing and the class system