El Paso Opera Tickets

Performers were all real professionals. Enjoyed every minute. The ochestra and conductor were wonderful. Just a great evening.

Sets were amatuerish, like a high school play. I think the Met sent their third string understudies. Quite disappointing overall. Will make the drive to Santa Fe next time we want opera.

Wonderful opera. Great performances that were delivered very candidly. The story along with the performances will keep you interested throughout the entire production. The orchestra performed beautifully with precision.

It was a very awesome and funny opera! I took my best friend and we had such wonderful perfect seats right in the middle section of the orchestra section. Just a fantastic play! This is probably my 10th opera I have been too and they are all so amazing!

We enjoyed the evening, especially Raul Melo but the orchestra wasn't up to the level of the performers.

First time for me at the El Paso Opera. If this is emblematic of its quality, a return may be a long time coming. La Tosca is among my favorite operas, so I'm willing to accept a good bit of variability in the quality of the performance, just for the experience. But many of both principal and minor roles in this version were lackluster or awkward. In advance of my comments, however, I have to say that this was my first time at the Abraham Chavex Theatre. Although I was in the 8th row, orchestra, I found the acoustics lacked vibrancy, and it's possible that the technical design may have prevented a better sound quality from the performers. At any rate, I found the soprano and tenor singing to be thin in parts, but adequate in others--uneven overall. The soprano's acting, for this role, was hesitant and often uncoordinated--not at all communicative of the dark, passionate and even violent character that are the main elements of La Tosca. The many scarves, shawls and loose apparel that comprised the soprano's costumes may have interfered in her movements. But these at least were an improvement from the absurdly comical get-up she was wearing in the first act. The tenor's arias were similarly uneven, with nearly inaudible phrases intermixed with completely acceptable, and welcome, sections. The duos between the soprano and tenor were largely mechanical, each OK by itself, but no feeling of integration between the two. This echoed the overall lack of "chemistry" between the two roles. At the other end of the spectrum was the singing and peformance of Scarpia. A wonderfully powerful baritone voice, with all the vocal and performance menace this role requires. Moreover, the physical parts of his performance, unlike those of the soprano, were delivered with gusto and coordination. The Scarpia performer was the only one of the three principals who actually deserved the standing ovation at the end of the opera. The minor roles in this opera, which often serve as stepping stones for junior performers, displayed no standout moments. The performances by the sacristan and Scarpia's primary assistant seemed almost apologetic, as though the performers were anxious simply to do their parts and get off stage. The orchestra was, mostly, adequate, with no standouts. The strings got off-key during the opening, beautiful pre-sunrise aria in the third act. This was most unfortunate, because the audience's attention should be riveted on this incredibly harmonious blend between melody and lyrics, and not on trying to ignore off-key notes. It's too bad that this opera could not have reached its potential here. El Paso deserved better.

The magnificent presentation by professional singers, perfect fitting and design stage, and simultaneous translation of the dialogues to English and Spanish, made this show a good sample of what El Paso Opera organization is capable to do.