NATIVE DAUGHTER: A Colorful Homecoming for DiDonato at the Kauffmann Center
The Kauffmann Center’s Helzberg Hall has certainly seen its share of impressive performances throughout this auspicious inaugural season, and last night’s Symphony spectacular proved to be one of the more ambitious and successful of these endeavors to date. For the first time, the hall itself became attuned to the program as careful synchronization of colorful lighting enhanced the nuances of each work.
KC REP PRESENTS POWERFUL DRAMA OF SLAVERY, FREEDOM, FAITH
In one of the first exchanges of Matthew Lopez’ The Whipping Man,former slave owner Caleb DeLeon begins shouting orders to former slave Simon – fetch this, fetch that. It is days after the end of the Civil War, and Simon winces, surprised that his former master has not yet grasped the new order of things: namely, that he can’t give orders any more.
Lyric strives toward new levels of achievement with ambitious opera.
Nixon in China is drawn on a scale that is as grandiose as anything in opera, and the best productions of it embrace this cultural, historical and conceptual expansiveness with all their hearts.
REVIEW: LYRIC’S COSI TRADES ON VOCAL EXCELLENCE
Così fan tutte is a bit of a conundrum. Its plot is as ridiculous as that of any opera in the repertoire, but its music is so magnificent that we can’t not take it seriously.
HAND OVER FOOT: High-altitude dance company keeps evolving to find its artistic niche
Some dance companies are formed with a clearly etched vision of what they want to do, and they just go do that over and over. Others grow like Topsy, evolving with the vicissitudes and needs of the company itself and of the community it serves. A prime example of the latter is the Aspen Santa Fe Ballet, whose very name suggests a history of evolution and collaboration.