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	<title>Newcity Stage &#187; Opera Reviews</title>
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	<description>Theater, Dance, Comedy and Performance in Chicago</description>
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		<title>Review: Boris Godunov/Lyric Opera</title>
		<link>http://newcitystage.com/2011/11/15/review-boris-godunovlyric-opera/</link>
		<comments>http://newcitystage.com/2011/11/15/review-boris-godunovlyric-opera/#comments</comments>
		<pubDate>Tue, 15 Nov 2011 18:05:34 +0000</pubDate>
		<dc:creator>Ella Christoph</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Andrea Silvestrelli]]></category>
		<category><![CDATA[Boris Gudunov]]></category>
		<category><![CDATA[Dimitri Shostakovich]]></category>
		<category><![CDATA[Donald Nally]]></category>
		<category><![CDATA[Donald Palumbo]]></category>
		<category><![CDATA[Edward Mout]]></category>
		<category><![CDATA[Erik Nelson Werner]]></category>
		<category><![CDATA[Ferruccio Furlanetto]]></category>
		<category><![CDATA[Mussorgsky]]></category>
		<category><![CDATA[Rimsky-Korsakov]]></category>
		<category><![CDATA[Samuel Ramey]]></category>
		<category><![CDATA[Sir Andrew Davis]]></category>
		<category><![CDATA[Wagner]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=16035</guid>
		<description><![CDATA[RECOMMENDED “Boris Godunov” is making a return appearance to Lyric Opera for the first time in some seventeen years, a long time to go without hearing the crown jewel of Russian opera. What is needed to make it work is a bass extraordinaire who doesn’t come around all that often. Lyric had to wait its [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Review: Lucia di Lammermoor/Lyric Opera</title>
		<link>http://newcitystage.com/2011/10/11/review-lucia-di-lammermoorlyric-opera/</link>
		<comments>http://newcitystage.com/2011/10/11/review-lucia-di-lammermoorlyric-opera/#comments</comments>
		<pubDate>Tue, 11 Oct 2011 18:59:22 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Catherine Malfitano]]></category>
		<category><![CDATA[Donizetti]]></category>
		<category><![CDATA[Giuseppe Filianoti]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Massimo Zanetti]]></category>
		<category><![CDATA[René Barbera]]></category>
		<category><![CDATA[Sir Andrew Davis]]></category>
		<category><![CDATA[Susanna Phillips]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=15607</guid>
		<description><![CDATA[&#160; It is telling that in a series of promotional videos that Lyric Opera music director Sir Andrew Davis and creative consultant Renée Fleming made to promote the new season, Davis admits that he is not partial to the bel canto repertoire before he nonetheless waxes on about the melodic appeal of Donizetti’s “Lucia di Lammermoor.” The [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Review: The Tales of Hoffmann/Lyric Opera</title>
		<link>http://newcitystage.com/2011/10/04/review-the-tales-of-hoffmanlyric-opera/</link>
		<comments>http://newcitystage.com/2011/10/04/review-the-tales-of-hoffmanlyric-opera/#comments</comments>
		<pubDate>Tue, 04 Oct 2011 16:59:37 +0000</pubDate>
		<dc:creator>Ella Christoph</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Alyson Cambridge]]></category>
		<category><![CDATA[Anna Christy]]></category>
		<category><![CDATA[Erin Wall]]></category>
		<category><![CDATA[Ezio Frigerio]]></category>
		<category><![CDATA[James Morris]]></category>
		<category><![CDATA[Matthew Polenzani]]></category>
		<category><![CDATA[Nicolas Joel]]></category>
		<category><![CDATA[Offenbach]]></category>
		<category><![CDATA[Stéphane Roche]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=15524</guid>
		<description><![CDATA[RECOMMENDED The projected translation “I stumbled on a barren landscape” received a hearty laugh at Saturday’s lavish Lyric Opera opening night, given that much of Wacker Drive surrounding the Civic Opera House is in such a state of reconstructive disarray that just accessing the Opera House became a pre-opening-night scavenger hunt for patrons, some joking [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Review: Médée (Medea)/Chicago Opera Theater</title>
		<link>http://newcitystage.com/2011/04/26/review-medee-medeachicago-opera-theater/</link>
		<comments>http://newcitystage.com/2011/04/26/review-medee-medeachicago-opera-theater/#comments</comments>
		<pubDate>Tue, 26 Apr 2011 15:41:03 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Anna Stephany]]></category>
		<category><![CDATA[Baroque Band]]></category>
		<category><![CDATA[Brian Dickie]]></category>
		<category><![CDATA[Charpentier]]></category>
		<category><![CDATA[Chicago Opera Theater]]></category>
		<category><![CDATA[Christian Curnyn]]></category>
		<category><![CDATA[Colin Ainsworth]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=13020</guid>
		<description><![CDATA[RECOMMENDED A Chicago premiere, more than three centuries after a work was first performed? Welcome to Charpentier’s “Médée,” that seventeenth-century chestnut that as a byproduct of the court of Louis XIV fell into neglect until being rediscovered by the modern early music movement of the 1980s and nineties. It had been a long-stated desire of [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: Death and the Powers/Chicago Opera Theater</title>
		<link>http://newcitystage.com/2011/04/05/review-death-and-the-powerschicago-opera-theater/</link>
		<comments>http://newcitystage.com/2011/04/05/review-death-and-the-powerschicago-opera-theater/#comments</comments>
		<pubDate>Tue, 05 Apr 2011 13:31:25 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Alex McDowell]]></category>
		<category><![CDATA[Boston Modern Orchestra Project]]></category>
		<category><![CDATA[Brian Dickie]]></category>
		<category><![CDATA[Brian Eno]]></category>
		<category><![CDATA[Chicago Opera Theater]]></category>
		<category><![CDATA[Emerson Lake & Palmer]]></category>
		<category><![CDATA[Gil Rose]]></category>
		<category><![CDATA[HR Giger]]></category>
		<category><![CDATA[James Maddalena]]></category>
		<category><![CDATA[Simon Powers]]></category>
		<category><![CDATA[Tod Machover]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=12791</guid>
		<description><![CDATA[RECOMMENDED Combining all of the art forms as it does in a live setting,  opera is the ultimate human creation. A cursory look at the history of the genre reveals that, at its best, opera remains a step ahead of culture whether in the form of the cutting-edge eighteenth-century operas of Mozart, or the nineteenth-century [...]]]></description>
		<wfw:commentRss>http://newcitystage.com/2011/04/05/review-death-and-the-powerschicago-opera-theater/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Review: Carmen/Lyric Opera</title>
		<link>http://newcitystage.com/2011/03/14/review-carmenlyric-opera-4/</link>
		<comments>http://newcitystage.com/2011/03/14/review-carmenlyric-opera-4/#comments</comments>
		<pubDate>Mon, 14 Mar 2011 20:52:01 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Alain Altinoglu]]></category>
		<category><![CDATA[Bizet]]></category>
		<category><![CDATA[Brandon Jovanovich]]></category>
		<category><![CDATA[Kate Aldrich]]></category>
		<category><![CDATA[Katharine Goeldner]]></category>
		<category><![CDATA[Kyle Kettleson]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Lyric Opera Orchestra]]></category>
		<category><![CDATA[Nadia Krasteva]]></category>
		<category><![CDATA[Nicole Cabell]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=12462</guid>
		<description><![CDATA[RECOMMENDED For those Lyric Opera subscribers who missed the October performances of “Carmen” and instead have tickets to the March performances, there is good news: this recast incarnation is a far stronger production. The fall production had been planned around the Lyric debut of mezzo-soprano Kate Aldrich in the title role a mere five years [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Review: Hercules/Lyric Opera</title>
		<link>http://newcitystage.com/2011/03/07/review-herculeslyric-opera/</link>
		<comments>http://newcitystage.com/2011/03/07/review-herculeslyric-opera/#comments</comments>
		<pubDate>Mon, 07 Mar 2011 20:05:52 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Alice Coote]]></category>
		<category><![CDATA[David Daniels]]></category>
		<category><![CDATA[Donald Nally]]></category>
		<category><![CDATA[Eric Owens]]></category>
		<category><![CDATA[Handel]]></category>
		<category><![CDATA[Harry Bicket]]></category>
		<category><![CDATA[Lucy Crowe]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Lyric Opera Chorus]]></category>
		<category><![CDATA[Peter Sellars]]></category>
		<category><![CDATA[Richard Croft]]></category>
		<category><![CDATA[Sophocles]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=12322</guid>
		<description><![CDATA[RECOMMENDED “War Follows You Home,” read the posters promoting Peter Sellars’ new production of Handel’s “Hercules” at Lyric Opera. Unlike his last production here—John Adams’ “Doctor Atomic,” where Sellars concocted his own libretto from nuclear formulae—Sellars has this time taken an existing work, an oratorio by Handel, and via extensive cuts and staging, cobbled a [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: Un ballo in maschera/Lyric Opera</title>
		<link>http://newcitystage.com/2010/11/16/review-un-ballo-in-mascheralyric-opera/</link>
		<comments>http://newcitystage.com/2010/11/16/review-un-ballo-in-mascheralyric-opera/#comments</comments>
		<pubDate>Tue, 16 Nov 2010 19:01:20 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Asher Fisch]]></category>
		<category><![CDATA[Donald Nally]]></category>
		<category><![CDATA[Frank Lopardo]]></category>
		<category><![CDATA[Kathleen Kim]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Mark Delavan]]></category>
		<category><![CDATA[Renata Scotto]]></category>
		<category><![CDATA[Sondra Radvanovsky]]></category>
		<category><![CDATA[Stephanie Blythe]]></category>
		<category><![CDATA[Verdi]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=11255</guid>
		<description><![CDATA[RECOMMENDED It is unclear why Lyric Opera is suddenly marketing this Verdi opera under the translation title “A Masked Ball” rather than the Italian title “Un ballo in maschera” that it is known by internationally, even when it has been presented in other languages (the Met premiered it in German!). So do we start calling [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: A Midsummer Night’s Dream/Lyric Opera</title>
		<link>http://newcitystage.com/2010/11/08/review-a-midsummer-night%e2%80%99s-dreamlyric-opera/</link>
		<comments>http://newcitystage.com/2010/11/08/review-a-midsummer-night%e2%80%99s-dreamlyric-opera/#comments</comments>
		<pubDate>Mon, 08 Nov 2010 19:04:06 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Anima]]></category>
		<category><![CDATA[Benjamin Britten]]></category>
		<category><![CDATA[David Daniels]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Neil Armfield]]></category>
		<category><![CDATA[Peter Pears]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=11141</guid>
		<description><![CDATA[RECOMMENDED For those who musically associate Shakespeare’s “A Midsummer Night’s Dream” with the mirthful music of Mendelssohn, Benjamin Britten’s modern operatic setting of the Bard’s comic masterpiece will come as something of a culture shock. Written for the 1960 opening of an expanded Jubilee Hall at Britten’s Aldeburgh Festival, the composer’s decision to write an [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: Carmen/Lyric Opera</title>
		<link>http://newcitystage.com/2010/10/19/review-carmenlyric-opera-3/</link>
		<comments>http://newcitystage.com/2010/10/19/review-carmenlyric-opera-3/#comments</comments>
		<pubDate>Tue, 19 Oct 2010 13:42:52 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Alain Altinoglu]]></category>
		<category><![CDATA[Bizet]]></category>
		<category><![CDATA[Elaine Alverez]]></category>
		<category><![CDATA[Kate Aldrich]]></category>
		<category><![CDATA[Katharine Goeldner]]></category>
		<category><![CDATA[Kyle Kettleson]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Younghoon Lee]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=10810</guid>
		<description><![CDATA[The Chicago Symphony Orchestra is not the only arts organization that has experienced an unexpected cancellation this fall: Lyric Opera planned an entire production of Bizet’s “Carmen” around the Lyric debut of mezzo-soprano Kate Aldrich in the title role a mere five years after it last presented the popular warhorse, only to have Aldrich cancel [...]]]></description>
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		<slash:comments>0</slash:comments>
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