News from Opera Central

Under Maestro’s baton the orchestra is absolutely stunning

Broadway World‘s Peter Nason reviews: I am in the camp that believes that SOUTH PACIFIC is Rodgers and Hammerstein’s greatest work. Even though it won the Pulitzer Prize and is the only musical to garner the Tony Award for all four acting categories, the show still sometimes seems overshadowed by other R & H classics:

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‘South Pacific’ closes out opera season, with pleasing results

St. Pete Times‘s Andrew Meacham writes: The St. Petersburg Opera Company again closes its season with a musical, this time running two weeks. The extra week for South Pacific anticipates healthy crowds at the Palladium, but also does justice to a serious production. The show allowed me to indulge long-standing curiosities about the acting potential of

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A faithful, delightful rendition of ‘La Bohème’

Andrew Meacham reviewed: Now and then, someone launches a contemporary version of La Bohème, Giacomo Puccini’s paean to love and loss, with mixed results. A production in Washington, D.C., set the downtrodden artists in the 1980s club scene. Another, in Oslo, started the show with the heroine, Mimi, who we already know will die at

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Auditions for Season Eleven now complete

The SPO auditions for Season Eleven have been completed.  We heard amazing talent this year in New York and in St. Petersburg.  Thank you to all the artists and managers who participated.  Decisions have begun for casting choices, and we’ll inform all artists who attended as soon as Maestro Sforzini is ready to make the

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The maestro, the money and the unfinished ‘Great Gatsby’ opera

St. Pete Times‘ Andrew Meachum writes this: Daisy Buchanan — you’ve heard of her — is an irrepressible teen. She is drawn to Jay Gatsby — you’ve heard of him — an enigmatic, though problematic, wealthy older man. Sforzini labored over Daisy, his operatic prequel to The Great Gatsby, for more than a year. It

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‘Abduction from the Seraglio’ shows off genius

St. Pete Times reviews: A nearly full house turned out on Friday for the St. Petersburg Opera’s first production of 2016, Wolfgang Amadeus Mozart’s The Abduction from the Seraglio. As with all things Palladium, the former church with excellent acoustics had to find a way to use its orchestra without a pit. Maestro Mark Sforzini

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