It is literally bleachers set up with black curtains around them to give the idea that you're sitting in the dark opera house.įirst problem encountered: Their ticketing email is still sending the wrong email, or no emailed ticket at all. Hurricane Harvey apparently damaged their normal theater, so they're calling this the resilience theater. Went to the opera this past weekend at the George R. My Hat off to a great company, superb leadership and staff and all those who participated in this tour de force. Even Valet parking worked flawlessly, even though HGO had to compete with the World Series, literally next door. Even the Green room was reproduced, as was the dinner service for those in the Patrons' Circle. And yet, HGO found a new venue, built an entire (provisional) theater, re-ticketed all members of the audience, completed rehearsal with the original cast and delivered a spectacular performance of La Traviata. A week after the hurricane, it was all but certain that the 201702018 opera season was not going to happen. Hurricane Harvey devastated the Wortham Theater, the home of HGO and the Houston Ballet. However, what HGO has pulled off this time is simply spectacular. In truth, some of those are outstanding, some others, forgettable.
It is one of the opera companies that takes risks and every year it commissions at least one new opera. The Houston Grand Opera is clearly among the top three opera companies in North America: it is creative, adventurous, recruits great talent and educates the next generation of singers and musicians (as well as members of the public). While pleasant enough, it didn't have a single memorable tune or one aria that added a dramatic exclamation point. The flashbacks and multigenerational presentation is confusing enough, but could be interpreted as creative. We found the production very confusing, with a number of side stories that added unnecessary complexity to the opera. I must say, I learned a lot more about daPonte than I ever did before, although I learned most of it the next day, after I re-read the Opera Cues. In therms of The Phoenix, we are always delighted when HGO introduces a new opera and we went with great expectations. This was probably the weakest performance of Don Giovanni over the past several decades. Since his performance was underwhelming, others, such as Leporello and Dona Anna filled the void and took over the star role. More to the point, Don Giovanni appeared hesitant, doubtful and a bit of a wimp.
The sets were monotonous and the wandering ghosts in most scenes were confusing and annoying. The new production of Don Giovanni brought wonderful voices, but a less than attractive stage to the performance. The last two productions of this season were somewhat less than a smashing success.
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