News & Reviews

VEER Magazine: Director’s Cut – A Streetcar Named Desire

Stage director Sam Helfrich promises that the Virginia Opera Association production of A Streetcar Named Desire, composer André Previn’s treatment of Tennessee Williams’ famous and famously quoted play, will give audiences an “an incredible actress“ in the role of Blanche, and a “portrayal” of that famously lost soul that will “very [much] surprise … audiences who know the play.”

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Daily Press: Virginia Opera presents ‘A Streetcar Named Desire’

One hundred or more years ago, when audiences saw a Puccini opera, it might have been a premiere. The Puccini and Verdi works we’re so accustomed to seeing in opera houses today once were new works, and they often generated a lot of controversy. That opportunity has been presented to Virginia Opera audiences of late as the company sets a new course designed to mix recent and new American works with Puccini and Verdi favorites.

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Richmond Times-Dispatch: Virginia Opera expands its lineup next season

In an expansion of its usual four-opera lineup, Virginia Opera will present five operas and one operatically inclined Broadway musical in its 2013-14 Richmond season. Four of the operas — “Falstaff,” “The Magic Flute,” “Ariadne auf Naxos” and “Carmen” — will be marketed as a subscription package. Two special engagements — “The Girl of the Golden West” and “Sweeney Todd” — will be sold as subscription add-ons.

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The Daily Press: Virginia Opera’s Coming Season Offers Area Premieres and an American Musical

Virginia Opera continues its exploration of premieres and American works in its 2013-2014 season announcement. Subscriptions are now on sale. The company will open its 39th year in September with Verdi’s “Falstaff,” a work never before mounted in Hampton Roads. The rest of the lineup includes Mozart’s “The Magic Flute” in November, Strauss’ “Ariadne auf Naxos” in February 2014, and Bizet’s “Carmen” in March 2014.

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Daily Press: Virginia Opera presents ‘Camelot’

As a large-scale musical, Lerner and Loewe’s “Camelot” can get lost in the pomp and pageantry of King Arthur and his Knights of the Round Table. Though an instant hit when it opened on Broadway in 1960, the production was heavy with dialogue and ran for more than four hours.

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Washington Examiner: The sweeping comedy of ‘Die Fledermaus’

Gary Thor Wedow enjoys a wonderfully eclectic repertoire that ranges from early music to fresh off the press. A faculty member at the Juilliard School of Music, he balances teaching with opera and choral engagements. This month, he conducts the Virginia Opera’s production of “Die Fledermaus,” performed at its Norfolk, Richmond and Fairfax venues.

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