2016-2017 Review Highlights
"Canadians Invade Washington"
La Scena Musicale, February/March Issue
Where in North America can you see 17th- and 18th-century French comic opera featuring an all French-Canadian cast? The unlikely answer is Washington, DC. The city’s company Opera Lafayette (OL) has been performing obscure French Baroque opera for 17 years.
"Lyric art, export value"
Le Devoir, January 27, 2017
Opera Lafayette Season Review
"Opera Lafayette is the third opera company I follow consistently... Opera America cites it as an outstanding company in Washington and one of the best in the country... Ryan Brown makes his home in our city... and his company should be considered a national treasure." | Read Full Review
Susan Galbraith, DC Theatre Scene, August 2016
2015-2016 REview highlights:
Recording - PHILIDOR: Les Femmes Vengées
"Opera Lafayette’s young cast ... sing with clean, stylish vocalism and manage the comedy capably. But it’s Ryan Brown’s orchestra that steals the show, playing with rich contrasts, clarity and verve." | Read Full Review
Opera News Magazine, February 2016
Une Éducation Manquée
"Emmanuel Chabrier’s Une Éducation Manquée (An Incomplete Education),” a half-hour work for piano and three singers, written in 1879 for a single performance in a club. Opera Lafayette brought this piece, as light and fleeting and swirling with color as a soap bubble, to the Terrace Theater on Tuesday and Wednesday night." | Read Full Review
Anne Midgette, The Washington Post, February 3,2016
"Soprano Sophie Junker was a wide-eyed Hélène, with ... a beautiful overall tone, with soprano Amel Brahim-Djelloul ... showing a charming boyishness in the trouser role of Gontran. Baritone Dominique Côté had smart comic timing as Pausanias.” | Read Full Review
Charles Downey, Ionarts, February 4, 2016
Catone in Utica
"Emilia, sung splendidly by the young mezzo-soprano Julia Dawson, lurked in the background through most of the first half, like everyone’s bad conscience, but suddenly turned into a spitfire before intermission, vowing to avenge her husband’s death. As Caesar, Mr. Holiday, a robust and brilliant countertenor, had similar animated opportunities and made the most of them. As Cato, Mr. Allen, a strong veteran tenor, took his wrath out harrowingly on Marzia, his daughter, having learned of her secret love for Caesar. Anna Reinhold, a mezzo-soprano, sang Marzia beautifully, and Marguerite Krull was effective in the thankless trouser role of Arbace, Marzia’s would-be lover. (Don’t you hate it when a Caesar gets in your way?) Eric Jurenas, another powerful and pliant countertenor, sang Fulvio, Caesar’s aide." | Read Full Review
James Oestreich, The New York Times, December 2, 2015
"Brown is not a conductor who imposes himself on the music. He simply is the music, and his musicians follow him with a unanimity that is a joy to watch...[he] has the ability to discern which particular details of shape and texture will most vividly characterize a mood, throwing open the doors to great variety in his music-making." | Read Full Review
Patrick Rucker, The Washington Post, November 29, 2015