Crimson staff writer
Lien E. Le
Lowell House Opera's production—the U.S. debut of “Trofonio”—succeeds despite vocal and other challenges due to an abundance of energy, enthusiasm, and good-natured humor and makes a convincing case that Salieri’s operas are worthy of further attention.
“The Harvard Theater Review Review,” running Oct. 23 to God-only-knows-when on Wordpress, is a moving yet ultimately lackluster demonstration of misguided frustration and adolescent angst.
Australian baritone Duncan Rock is a rising star in the opera world. Performing his first lead role in the U.S. in Boston Lyric Opera's production of Mozart’s “Don Giovanni,” he sat down with The Crimson to discuss his discovery of opera, his personal take on “Don Giovanni,” and his thoughts on opera’s future.
The Boston Opera Collaborative’s version of George Frideric Handel’s “Rinaldo,” which ran at the Benjamin Franklin Institute of Technology March 26-29, succeeded superbly in creating a production that was compelling, well-crafted, and accessible to all.
“Pop is insipid,” they said. “The Top 40 has no soul,” they said. “These lyrics don’t even mean anything,” they said. Well, they were wrong. Incoming Theater Exec Lien Le lists the top current events of 2014 paired with the best Top 40 hits written about them.
Harvard’s lack of a dramatic arts concentration presents obstacles for undergraduates hoping to pursue careers in theater, but the annual Visiting Director’s Project provides students with a challenging and rewarding experience that approximates theater at the professional level.