The annual visit of the Mariinsky Theater’s traveling opera troupe from St. Petersburg came a little early this year. The themes that unite the Kennedy Center double-bill of Verdi’s Otello and Tchaikovsky’s Queen of Spades are self-destructive obsessions and tenor heroes who become villains. Who better to perform The Queen of Spades than the Mariinsky Theater, which hosted the world premiere of The Queen of Spades on December 19, 1890? The opera is thoroughly Russian,…

Before the curtain of the second performance of Washington National Opera’s new production of Mozart’s Don Giovanni on Monday night, conductor Plácido Domingo made an announcement. Happily, it was not to announce a cast change, but to draw the audience’s attention to the fact that it was the 220th anniversary of the opera’s first performance in Prague (October 29, 1787). This production is not likely to rank high on anyone’s list of noteworthy versions of…

I skipped the season finale of Lost the other night in favor of another supernatural tale of attractive people haunted by their pasts who just want to get off the damn island. The Folger’s latest staging of The Tempest is a light, spritely, fleet-footed thing of a play, apropos for a show about forgiveness and renewal and the casting off of old follies. Like the shipwreck that opens Act I, it’s forceful and bewildering and…

On Saturday night, the Washington National Opera opened its best production of the season, with David Alden’s modernized staging of Leoš Janáček’s Jenůfa. Washington is the last of the three cities co-producing this version to see it on the stage, after a well-received 2004 premiere at Houston Grand Opera and an overwhelming critical success last fall at English National Opera, where it won the Laurence Olivier Award for best new opera production. Janáček adapted the…

This Saturday evening, the Washington National Opera opens its highly anticipated production of Leoš Janáček’s Jenůfa. This is only the second Janáček opera in the history of the WNO, with one Cunning Little Vixen done in English translation in 1993. This new production directed by David Alden premiered at Houston Grand Opera in 2004: after it played to critical success last fall at English National Opera, it won the Laurence Olivier Award for best new…

After the success of the second part of its American Ring Cycle, with all performances long since sold out, Washington National Opera opened its second spring production on Saturday evening, Gaetano Donizetti’s La Fille du Régiment. There is no reason to revive this rather silly comic opera, last mounted by WNO in 1993, unless you have a truly remarkable cast and perhaps a new and interesting production. That seemed to be the case with this…

The classical music world of Washington seems to have Baroque music on its mind. After plugging the Washington Early Music Festival in this week’s Classical Music Agenda, it is time to tell you about the two Baroque operas that were staged over the weekend. For its first production this summer, the Wolf Trap Opera Company is staging Telemann’s Orpheus, which I heard on Friday night. This opera, rediscovered only in the 1970s, combines a mostly…

Last week, I recommended the final production of Washington National Opera’s season to you. Monday night, DCist was in the audience for the second performance of Rossini’s L’Italiana in Algeri, and I can now say confidently that this production is a “smashing success” (as Tim Page described it for the Post). While not perfect as I heard it, the voices and musical performance are all of high quality and the wacky story is likely to…

You probably know by now, because we won’t shut up about it, that the Kirov Opera is visiting the Kennedy Center this week. We have already recommended their production of Puccini’s Turandot. Last night, we were in the Opera House again, to see the Kirov perform Wagner’s Parsifal, which the composer insisted was not an opera but a “stage-consecrating festival drama.” (This reminds me that what you are reading is not a post, but a…

Five pseudo-historical, pseudo-literary feminist icons from widely different eras are brought together by a modern-day executive for a dinner party. This arguably contrived premise is the initial basis for Caryl Churchill’s Top Girls, now being staged by the Fountainhead Theater. The show’s conceit feels rather forced, and continues to puzzle during the second act, when all the main figures are dropped and the action shifts to a present-day story of that same executive and her…