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Saturday, April 26, 2008

Tonight @ the Marcus Center - 7:30 p.m.

The Florentine Opera Company continues its three-day production of Vincenzo Bellini’s 1830 adaptation of William Shakespeare’s Romeo and Juliet, I Capuleti e I Montecchi, tonight with a 7:30 p.m. production at the Marcus Center. Bellini’s version emphasizes the story’s poignancy and is focused squarely upon the central
Friday, April 25, 2008

Tonight @ the Marcus Center - 7:30 p.m.

The Florentine Opera Company begins a three-night production of Vincenzo Bellini’s 1830 adaptation of William Shakespeare’s Romeo and Juliet, I Capuleti e I Montecchi, tonight with a 7:30 p.m. production at the Marcus Center. Bellini’s version emphasizes the story’s poignancy and is focused squarely upon the central . . .
Wednesday, April 2, 2008

Tonight @ the Mequon Shwartz Bookshop - 7:00 PM

In advance of the Florentine Opera’s upcoming presentation of I Capuleti e I Montecchi (Romeo and Juliet) later this month, the Schwartz Bookshop Mequon location hosts an Opera Insight program tonight at 7 p.m. featuring performers from the company and UWM’s Emiritus Professor of Theatre, Corliss Phillabaum.
Thursday, March 20, 2008

Tonight @ the Skylight Opera Theatre - 7:30 PM

In an era when celebrities find fame despite possessing no discernable talent, the Skylight Opera Theatre’s latest production rings particularly true. Souvenir follows the life of Florence Foster Jenkins, a wealthy socialite who, despite her limited voice and considerable pitch problems, achieved her dream of becoming a . . .
Wednesday, March 19, 2008

Theater Reviews

Comedy has a reputation for being light and insubstantial. It is the stuff that provides levity from negativity and eases stress. However, just as a laugh is not the opposite of a tear, comedy is not the opposite of drama. Both can cover the same ground in ways that are equally compelling. Even the most cerebral concepts can be explored in just as much detail with just as much insight in comedy as they can in drama. Stephen Temperley’s Souvenir is a shining example of how comedy can cast a light into even the most abstract notions of the nature and value of art. The Skylight presents its production of Temperley’s comedy now through March 30 at the Broadway Theatre Center.
Wednesday, March 19, 2008

Today @ the Skylight Opera Theatre - 2:00 & 7:30 PM

In an era when celebrities (including some “American Idol” contestants) find fame despite possessing no discernable talent, the Skylight Opera Theatre’s latest production rings particularly true. Souvenir follows the life of Florence Foster Jenkins, a wealthy socialite who, despite her limited voice and considerable pitch . . .
Wednesday, Feb. 20, 2008

Classical Review

Once in a great while someone comes along whose talent leaves you breathless. Swedish soprano Erika Sunngardh’s performance of the title role in Richard Strauss’ opera Salome last weekend at Florentine Opera was nothing short of magnificent in every regard. This opera, based on the play by Oscar Wilde, is the most disturbing in the repertory. Salome, beautiful princess of Judea, falls in love and lust with the captive John the Baptist (Jochanaan).
Sunday, Feb. 17, 2008

Tonight @ the Marcus Center - 7:30 PM

The Florentine Opera Company continues its production of Salome today with a 7:30 p.m. performance in the Marcus Center. Based on the Oscar Wilde play about the New Testament seductress, this Richard Strauss opera contains a controversial scene in which Salome, after demanding . . .
Friday, Feb. 15, 2008

Tonight @ the Marcus Center - 7:30 PM

The Florentine Opera Company continues its production of Salome tonight with a 7:30 production in the Marcus Center. Based on the Oscar Wilde play about the New Testament seductress, this Richard Strauss opera contains a controversial scene in which Salome, after demanding John the Baptist's death, has sex with his . . .
Wednesday, Feb. 13, 2008

Salome on stage

Richard Strauss’ Salome is one of the world's great operas, combining the last remnants of 19th-century Romanticism with a ravishing score, seeped in late- Viennese tradition but with the bite of the emerging 20thcentury trend toward harsher realism. Strauss’ glorious score transforms the sexual decadence and social depravity of the source material into a breathtaking harmonic outpouring of frenzied erotic frustration that can only self-destruct, conjuring up the awesome trappings of “terror and pity” that underline Aristotelian tragedy. The music is expressively melodious and carefully banks its resources within a seductive yet surprisingly subdued lyricism. Salome encompasses the torrent of high drama while leaning only slightly toward . . .

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