Kentucky Opera’s recent Contemporary Opera Series was reviewed by Paul Hyde for Classical Voice North America.
We think the most important line comes at the end, and to ensure you don’t miss it:
The Moravec-Teachout double bill was one in a series of projects developed as the result of a partnership between Kentucky Opera and the University of Louisville School of Music. It’s a program that deserves generous support if the 21st century is to make a meaningful contribution to the standard operatic repertoire.
Mr. Hyde also seemed to apprecaite the quality of our Studio Artists:
“The young cast was excellent. Marco Cammarota brought a robust, ringing tenor to the role of William. César Méndez-Silvagnoli, as Franklin, displayed a resonant bass. The modest role of Mary was played by the limpid-voiced Danielle Messina.
The Danse Russe ensemble, as in The King’s Man, included singers in the Kentucky Opera’s Studio Artist Program. They were outstanding. With young singers like these, the future of opera is safe.
The University of Louisville School of Music got a nod as well:
Danse Russe featured a 14-piece orchestra that rendered the score with clarity and commitment under the solid and sensitive direction of Kimcherie Lloyd. Michael Ramach directed the stage proceedings with ebullience.
While he did not exactly love The King’s Man and Danse Russe, Terry Teachout himself said (something to the effect) the audience and the critics are the ones who say what works and what doesn’t.
Read the full review here.