Friday, August 7, 2015

NYTimes.com: Glimmerglass Festival: [S]trongest vocal performances...came...from the bass-baritone Eric Owens and the soprano Melody Moore in “Macbeth.”

New York Times: Soloman Howard, center, in the Glimmerglass Festival’s production of “The Magic Flute.” Credit Karli Cadel/The Glimmerglass Festival

New York Times: Megan Samarin and John Holiday in "Cato in Utica." Credit Karli Cadel/The Glimmerglass Festival

 
 
New York Times: 
Melody Moore and Eric Owens as "Macbeth." Credit Karli Cadel/The Glimmerglass Festival

The New York Times

At Glimmerglass Festival, ‘The Magic Flute’ Is Among the Reimagined

 
But the strongest vocal performances of the weekend came on Friday evening from the bass-baritone Eric Owens and the soprano Melody Moore in “Macbeth.” Ms. Moore, dispatching early fears that she might use her strong voice as merely a blunt instrument in portraying Lady Macbeth, settled into a variety of modes of expression, and even showed vulnerability at times.

Mr. Owens, who has repeatedly proved that he can take over a stage even in a minor role, was overwhelmingly powerful here in a major one, as Macbeth, despite being “under the weather,” according to a prior announcement by Francesca Zambello, the festival’s artistic and general director. (“There’s always something with ‘Macbeth,’ ” Ms. Zambello said, encapsulating decades of stage lore.)
James Schuette’s scenic design is memorable mainly for the huge blood-red roses festooning the stage walls. The veteran maestro Joseph Colaneri, the festival’s music director, conducted knowingly here, on Friday, as he did again on Saturday afternoon in “Candide.”

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By BookChick (@bookchick1327)

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