Arizona Republic article about Kiri Te Kanawa.

Arizona Republic review of Andrea Chénier.

Arizona Republic preview of Andrea Chénier.

The Arizona Daily Star review of Andrea Chénier.

Arizona Republic interview with Aida Director Bernard Uzan.

Arizona Republic review of Aida.

Get Out! article on Aida.

The Arizona Daily Star review of Die Fledermaus.

Tucson Citizen review of Die Fledermaus.

Tucson Citizen review of the Samuel Ramey Great Singers Series Recital.

The Arizona Daily Star review of the Samuel Ramey Great Singers Series Recital.

Arizona Republic review of the Samuel Ramey Great Singers Series Recital.

Tucson Citizen review of Lucia di Lammermoor.

The Rep review of Lucia di Lammermoor.

Arizona Republic review of The '98 Opera Ball.

Arizona Republic review of Tosca.

Arizona Republic review of Otello.

The Arizona Daily Star review of Roméo et Juliette.

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Phoenix New Times article about Ariadne auf Naxos, featuring an interview with Caroline Whisnant.

Arizona Republic review of Ariadne auf Naxos.

Arizona Republic preview of Ariadne auf Naxos.

Tucson Citizen review of Ariadne auf Naxos.

Tucson Citizen review of The Magic Flute.

Arizona Daily Star review of Lakmé.

Tucson Citizen review of Lakmé.

Arizona Republic review of Lakmé.

By Daniel Buckley
Citizen Music Critic
October 12, 1996

Bells tarnished green with envy as Aline Kutan skipped through the "Bell Song" from Delibes’ opera "Lakmé."

Like a jewel, Kutan sparkled dazzlingly through the coloratura display, singing with crisp precision and clarity, while making it all seem as easy as a country stroll. The crowd of roughly 1,800 at last night’s opening of Arizona Opera Company’s 1996/97 season shouted its unanimous approval.

Kutan stole the show in her title-role portrayal of the cherished daughter of a Brahmin priest in British-occupied India. Her "Flower" duet with Donna Ames was a thing of beauty, though a touch more unity of phrasing would have enhanced it further. And as impressive as her agile vocals were, the equally important lyrical side of the taxing role was handled with the same easy grace. As an actress, Kutan shone, imparting her character’s strong emotions deep heart.

For the most part, this was a fine production. The lavish costumes and illusory sets lent an air of India. Asha Gopal’s lush choreography of Indian gesture and motion made the second act’s dances ring true despite the incongruously French manner of the music and the spotty execution of some of the dancers.

Conductor Michel Singher brought rich sound and clean lines from the orchestra, even if the coordination with the stage was sporadically less than perfect.

The supporting vocalists were a mixed bag with more good than bad. Baritone Edward Crafts got off to an uncharacteristically rough start. The opening act’s deeper parts seemed a touch low for him, but in the remaining acts, he redeemed himself with powerful, beautiful singing.

Daniel Hendrick’s portrayal of Lakmé’s love interest - the British officer Gerald - was generally fine. Though he lacked the sheer vocal size of Kutan or Crafts, the beauty of his voice and his ease with the part - vocally and dramatically - made up for it. Dennis Jesse’s singing of the role of the other English officer was less satisfying.

James Lucas’ stage direction was typical of his work, with the music rightly cueing action but almost everything else inane and thoroughly unbelievable. But with singing this beautiful, even Lucas’ stiff staging couldn’t ruin it.

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