Scott Frost

Regional Opera Company of the Week: Los Angeles Opera

Los Angeles Opera has been a tour de force since its inaugural production of Verdi's Otello starring Placido Domingo in October 1986. Both Founding General Director Peter Hemminds and subsequently after Placido Domingo the company has grown in 25 short years to be the United States' fourth largest opera company. The LA Opera is known for embracing the spirit and artistic nature of Los Angeles in producing world-class opera that preserves, promotes and advances the art of opera for the greater public.

BWW Reviews: Robert Lepage's RING is in full Rotation

The first of three complete Ring Cycles concluded on Tuesday night at the Metropolitan Opera as our hero, Siegfried, his true love, Brunnhilde, as well as the entirety of Valhalla went up in a burst of video projected and staged lit flames behind the massive 45-ton set of 24 rotating planks come to be known by some as Robert Lepage's Ring machine. Luckily for everyone involved- audience, performers and technicians alike, this cycle ran quite smoothly in comparison to previous seasons. One mishap happened in Das Rheingold as we descended into Nibelheim and the last five or six planks got stuck in the air and one black clad arm was seen pulling each back into place. Barring this one blip in an otherwise 19 hour breathtaking production is rather impressive given the scale and scope of this production which includes hydraulics, harnesses, flying, dying, fighting, love making, and a host of technical demands all enhancing the complex masterpiece which is Richard Wagner's music and libretto.

Regional Opera Company of the Week: Opera Idaho

Opera Idaho was founded in 1973 though the existence of opera in Boise dates back much earlier. Since the early 1960's, the Boise Philharmonic has been producing annual operas featuring singers from the surrounding region. When these were discontinued in the late 60's, Mrs. Hazel Weston and a large group of local opera enthusiasts formed the Boise Opera Workshop. The early company provided workshop productions, monthly public lecture programs and group studies of operatic works. In the continued efforts to producing grand opera, the company changed its name in 1973 to Boise Civic Opera and by 1977 they were already importing professional singers to perform the principal roles in its productions. In 1983, the company changed its name again, to Boise Opera, to recognize the increasing professionalism of the company's productions.

BWW Reviews: New York Opera Returns to the City Center

Since moving out of the Lincoln Center two years ago, the New York City Opera has taken to playing its productions at a number of venues throughout the city, including the Brooklyn Academy of Music, but Sunday marked a homecoming for the company. New York City Opera continued its season with a new production of Rossini's Moses in Egypt at its birthplace, the New York City Center. In addition to this exciting homecoming, this production is the operas first full production in NYC in well over a century. This combination mixed with newly appointed music director Jayce Ogren at the podium of this innovative production proves to be a thrill from the restoration of light through the separating of the Red Sea.

Regional Opera Company of the Week: Mississippi Opera

Mississippi Opera, once known as the Jackson Opera Guild was started in 1945 mainly by the efforts for Mignonne Caldwell, the wife of John Caldwell. Her hard work with the support of an ever growing number of vocal and instrumental performers in the Jackson area created what was at the time one of only twelve organization in the entire United States. The group was officially incorporated in 1947 in hopes to promote and encourage the study and appreciation of Opera as an art form while developing operatic talent and performance.

Regional Opera Company of the Week: PORTopera

PORTopera has quite an interesting inception story, dating back to the 1970s when Bruce Hangen, at that time Music Director for the Portland Symphony dreamed of forming an opera company in Maine. In 1985, Hangen accepted the Music Director position for the Omaha Symphony in Nebraska. This did not end his dreams of creating a summer season back in Maine and finally in 1994 the Portland State Theater became available. The time had come for Hangen and a group of friends and supporters created the company, then known as Portland Opera Repertory Theatre. The first production of the company was in July 1995 at the State Theater with Bizet's 'Carmen.' The overwhelming response led to another summer season in '96 with Puccini's 'Madama Butterfly.' In the second season the company also introduced PORTopera's Young Artists Program to help the careers of emerging young singers.

BWW Reviews: An Atomic Inspired FAUST Comes Back to the Met

Since its premiere in 1859, Faust has been a moderate success in comparison to its counterpart, Goethe's epic drama of the same name, and the Mets current revival of the 2011 production holds true. This production, directed by Tony Award winner Des McAnuff does well to add interest where the original opera falls short. Looking at the opera for its musicality, the production is spot on; for its modernized atomic design complete with beautiful projections that fill the Met stage, the production is again spot on; though somehow when combined with the five act score, expertly conducted by Alain Altinoglu, the night at the opera tends to be remembered as again just a moderate success.

Regional Opera Company of the Week: Tulsa Opera

The first recorded opera performance in Tulsa dates back to 1904 with a production of Faust- just six years after the city was incorporated. Forty-four years later, in 1948, an official company was started, known today as Tulsa Opera. In the early years the Company presented opera and operettas twice yearly with only one or two paid professional singers but quickly it became evident that this was not enough. The company continued to grow with every season and is now the 18th oldest opera company in North America and has continued to grow and gain support over the years. Tulsa opera is now ranked among the ten favorite regional opera companies in the United States. The company now presents three grand opera each season and draws audiences from a five state region that includes Oklahoma, Arkansas, Kansas, Missouri and Texas.

Regional Opera Company of the Week: Seattle Opera

Seattle Opera has been one of the leading American opera companies since being founded in 1963. Presenting a mixture of European classics as well as new works of American opera, the company's five opera seasons continually advance the cultural life of the Pacific Northwest through education and performance. Seattle Opera strives to produce musically extraordinary, theatrically compelling operas by employing the highest quality casts, conductors, directors and designers. They have been so successful in this that they actually have the highest per capita attendance of any major opera company in the U.S. In addition to their mainstage productions however, the Company serves thousands more through its groundbreaking education programs, scenic rental program and other special projects.

Regional Opera Company of the Week: Atlanta Opera

The Atlanta Opera has continued to be a leading regional opera company since it was founded in 1979. The company produces mainstage opera productions as well as several arts education programs for all ages. Each season the Atlanta Opera strives to expand the experience of its patrons with memorable and exciting performances while providing the best musical and theatrical quality while also supporting the community and educational programs. Thusly, the Opera annually employs the finest in international, national and regional singers, conductors, stage directors and designers.

BWW Reviews: FRANCESCA DA RIMINI at the Met

We all sat waiting anxiously for the curtain to rise on Riccardo Zandonai's 'Francesca da Rimini' after almost a 27 year hiatus on the Met stage; but with each passing act, one could sense the audience waiting for the closing curtain just as intently. Not to say that the performances or design weren't a wonder to behold. The opera and production as a whole just seemed a bit trivial in comparison. Despite the story however, the musical prowess of Zandonai's score, the meticulously detailed sets, and exquisite costuming gave Monday nights opening of 'Francesca da Rimini' redeeming beauty amid a insipid story.

Regional Opera Company of the Week: Arizona Opera

Arizona Opera was originally known as Tucson Opera Company and founded in 1971 by a group of opera enthusiasts. The inaugural season was two performances of The Barber of Seville by Rossini in Tucson but by the 1976-77 season the company was performing their complete seasons in both Tucson and Phoenix. Now in the 42nd season, the company produces five grand operas throughout the state each season and is one of the only companies in the US that performs in two cities.

Regional Opera Company of the Week: Boston Lyric Opera

Boston Lyric Opera (BLO) was founded in 1976 and has risen to be New England's largest opera company. Each season the company produces three mainstage productions at the companies home, the Citi Performing Arts Center Shubert Theatre, in Boston and a the annual Opera Annex production in a found space. throughout New England. This season fulfills he mission of BLO which is to produce artistically excellent productions of a diverse repertoire that entertain and inspire audiences while featuring emerging operatic talent in order to engage and educate the community of all ages.

BWW Reviews: TURN OF THE SCREW as Told Through a Horror Movie Lens

New York City Opera's production of Britten's chamber opera 'The Turn of the Screw' opened Sunday afternoon to a full house at Brooklyn Academy of Music's Howard Gilman Opera House as the Prologue, played by Dominic Armstrong, fills us in on the back story as it is played out onstage. The stark setting with desk and chair and overhead fluorescent lighting sets the mood to which the score builds upon throughout the prologue. We watch the Governess in an interview with a man to care for two orphaned children who we find out to be his niece and nephew. After accepting the position to help 'such a busy man', we eerily follow the Governess, played by Sara Jakubiak, down the country road to her new life. The scene is now set for Act I of this production which director, Sam Buntrock, describes as having been drawn 'from iconic films such as The Shining, The Exorcist and Poltergeist.

Regional Opera Company of the Week: Hawaii Opera Theatre

The Hawaii Opera Theatre (HOT) has a rich history dating back to 1960 when it opened with Madama Butterfly with performances in McKinley High School Auditorium. The company has continued to evolve into what it is today- with international artists who have graced the most renowned stages as the New York Metropolitan Opera, La Scala, the Royal Opera house and many others through Europe, Asia and North America.

Regional Opera Company of the Week: San Francisco Opera

The San Francisco Opera celebrates its 90th year since it was founded by Gaetano Merola in 1923. Currently the second largest opera company in North America, the San Francisco Opera has grown from one production presented for two weeks to 75 performances of ten different operas running from September to July.

Regional Opera Company of the Week: Minnesota Opera

Minnesota Opera stems all the way back to 1963 when The Masque of Angelsby Dominick Argento was commissioned by the Walker Art Center for its performing arts program, Center Opera. The group continued to grow until it became its own entity in 1969 and changed the name in 1971 to the Minnesota Opera. The company quickly became known as an 'alternative opera company' to complement the traditional Metropolitan Opera tour that came through each year and the St. Paul Opera Company but in 1975 Minnesota Opera and St. Paul Opera merged and set their focus on both traditional repertory and contemporary opera.

Regional Opera Company of the Week: Sarasota Opera

Sarasota Opera has a long history of bringing opera to the people along the Gulf Coast. Starting in 1960 when the group was called Asolo Opera Guild the company presented a touring chamber-sized company, Turnau Opera's productions in the 320 seat Asolo Theater at the Sarasota Ringling Museum of Art. Starting in 1973 the company began producing their own productions when they recognized the need for a theater more conducive to opera. The company bought the former A.B. Edwards Theater and began renovations in 1982. In 1984 the company, now being called Sarasota Opera, opened the Sarasota Opera House which is now on the National Register of Historic Places.

Regional Opera Company of the Week: Opera Company of Philadelphia

Opera Company of Philadelphia (OCP) has been opening its doors since 1975 when it committed itself to delivering outstanding productions of both traditional repertoire and new operatic works. The company assembles the finest international artists to educate, deepen and diversify the opera audience in the greater Philadelphia area. The company produces both large scale and more intimate chamber performances at the Academy of Music and in the Perelman Theater respectively. In addition to these two spaces the company frequently performs throughout the community. The OCP is so committed to new works that the General Directors David B Devan, OCP launched in 2011 the American Repertoire Program to produce a new American work in each of the next ten seasons as well as the nation's first collaborative Composer In Residence Program with New York's Gotham Chamber Opera and Music-Theatre Group.

Regional Opera Company of the Week: Austin Lyric Opera, TX

Austin Lyric Opera became the first professional opera company in Austin when it was founded in May of 1986. It quickly became a cultural touchstone for the fine arts community in the Central Texas Region. Co-founders Joseph McClain and the late Dr. Walkter Ducloux quickly developed a company focused on 3 essential E's- Enrich, entertain and educate. This has only continued since its debut production of Mozart's The Magic Flute in January 1987 until now 26 years later.

BWW Reviews: LA BOHEME at Amora Opera: Small Company, Huge Voices

The vocal prowess of the Amore Opera singers is superb with rich nuance and controlled power behind the voices. Jonathan Winell plays the commanding role of Rodolfo with a generously sized voice to produce clarion top notes. Na Li Youm also performs with great range as Mimi. Showing dexterity in the role, she sings with ease and beauty. Julia Lima, Musetta, played the impassioned, volatile role with astonishing power and great musical expertise. The chorus produced a great bustling Café Momus scene of Act 2. Even the box office manager that had helped me an hour earlier made an appearance onstage.

BWW Reviews: BARBER OF SEVILLE Brings All Ages to the Met

What a delight to go to the opera house among so many children, each bustling with excitement for what I can only imagine was the first time for many. The Metropolitan Opera's new and abridged version of Rossini's comic opera The Barber of Seville - sung in the English-language is guaranteed fun for the whole family. Not only is the opera comic and sung in English, it is also cut down to only two hours, including the intermission. All of this combined makes for great holiday entertainment for anyone on your list.

Regional Opera Company of the Week: Portland Opera

Portland Opera is a vibrant and vital part of the cultural activity and identity in Oregon. With 48 years in the business, the company has earned a devoted public following throughout the state of Oregon and southwestern Washington. Read more about Portland Opera in this week's Regional Opera Company of the Week feature!

BWW Reviews: AIDA, the Larger-Than-Life Verdi Opera, Comes to the Met for Another Season

Aida has been among the most popular operas in the Met's repertory since the "German Seasons" in the 1880s and this season's production follows suit. This Sonja Frisell 1988 production of a classic Verdi opera left the audience feeling a wide range of emotions from beginning to end. From the vast Egyptian landscapes to the extraordinary musical talents, Aida at the Met this season is a production to remember.

Regional Opera Company of the Week: Winter Opera St. Louis

BroadwayWorld.com, the largest theatre site on the net, continues its expansion into other areas of entertainment with our latest feature -The Regional Opera Company of the Week! This week, we're thrilled to present you to Winter Opera St. Louis!