This weekend, Union Avenue Opera concludes its 22nd season with "Götterdämmerung" ("Twilight of the Gods"), the final installment of the most ambitious project in the company's history—Wagner's mammoth operatic cycle "Der Ring des Nibelungen" ("The Ring of the Nibelung"). It's a strong production, thanks to tremendous performances by the singers and clear, focused stage direction by Karen Coe Miller.
Union Avenue Opera is nothing if not fearless, often taking on works that strain the company's space at the Union Avenue Christian Church to the limit.
History tells us the 1853 premiere of Verdi's "La Traviata" was something of a disaster, capped by the fatal miscasting (opposed unsuccessfully by the composer) of a soprano whose girth, in the view of the audience, made her attempts to portray a consumptive beauty laughable rather than tragic.
Nothing dates faster than relevance. The more a work of art addresses uniquely contemporary issues, the quicker it becomes stale and even, eventually, quaint.
Union Avenue Opera is nothing if not fearless, often taking on works that strain the company’s space at the Union Avenue Christian Church to the limit. Through next Saturday Union Avenue is presenting the second installment of its most ambitious project yet—Wagner's mammoth operatic cycle “Der Ring des Nibelungen” (“The Ring of the Nibelung”). And it's pretty darned impressive.
The West End Players Guild tag line is “big theatre in a small space”. They are true to their word with this excellent production of The Seafarer - a powerful, darkly funny journey into the language-rich world of Irish playwright Conor McPherson’s native Dublin.