Anna's Angst

Hang in there: A new opera based on Tolstoy is worth it

She's one of a gaggle of fine singers assembled for Anna Karenina. Sarah Coburn's Kitty is presented in full, golden voice. Christian van Horn's Karenin produces a wide sound that does to ears what dark chocolate does to palates. And Jovanovich is probably one of the most exciting tenors in the world right now, with a massive, bright voice that veritably drips pathos.

Details

Composed by David Carlson, libretto by Colin Graham. Directed by Colin Graham, conducted by Stewart Robertson. Through May 13 at the Ziff Ballet Opera House in the Carnival Center For the Performing Arts, 1300 Biscayne Blvd, Miami. 800-741-1010; visit www.fgo.org

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Carlson's music never ceases to be mysterious and even a little confounding, but the entire movement of Anna Karenina feels like a slow drive toward transparency — toward revelation. With that in mind, I do believe I'll be going again, to take another stab at that first act. A willful disregard for old-school tunishness and public tastes have confined many a powerful opera to the haute-cultural ghetto, but that ghetto is sometimes a pretty interesting place to be.

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