OPERA REVIEWS

THE MARRIAGE OF FIGARO

“There’s a wonderfully apt inventiveness to this magnificent new producton, set in British colonial India. To watch a white sahib loll on a couch in lordly indolence, while a coterie of Indian attendants fans him or kneels to shine his shoes, is to feel viscerally the imbalanced power structure that gives the opera its force. Director Brad Dalton ensured that every moment of this dauntingly intricate piece of clockwork machinery - every comedic double-take, every longing glance, every elaborate physical mishap - registered crisply. The result is a production that feels simultaneously reveletory and comfortingly on point. For anyone who knows and loves ‘Figaro,’ this version is full of moments that add a new layer of poignancy to the drama, and others that simply get the familiar moments exactly right. For anyone not yet indoctrinated, I cannot imagine a more welcoming introduction.” - Joshua Kosman, The San Francisco Chronicle

“Once in a blue moon, there comes a production of an old warhorse opera that challenges everything you know about the piece, questions your set beliefs about how things should be presented, delights your senses in the best possible way, gives you a new appreciation for the work, and restores your faith in what a masterpiece it is. Such was the case with Opera San Jose’s new production of ‘Le Nozze di Figaro.’ The strength of director Brad Dalton’s vision lay in the many details that he peppered throughout the whole performance, many of which provided the audience with new perspectives on the scenes. But the seriousness didn’t mean that the evening turned bleak and depressing, oh no, far from it! What was truly refreshing was the way Dalton maintained a perfect balance between the serious and comic moments throughout the opera.” - Michael Anthonio, Parterre Box

THE FLYING DUTCHMAN

***Named one of the Top Ten Musical Events in the Bay Area for 2018

“At my advanced age, I have now experienced ten different productions of Wagner’s‘The Flying Dutchman’ in my opera-going lifetime, but Opera San Jose’s just might be the finest. There was plenty of vibrant creativity on display. It is a credit to this team that all of the challenges of staging in this work were persuasively met with uncommonly apt choices. There is no denying that Opera San Jose has presented a ‘Flying Dutchman’ of such accomplishment that it could put itself firmly on the map for Wagner enthusiasts.” – James Sohre, Opera Today

“Opera San Jose approaches each element of the staging with artistic acumen. This follows through to the cast who do a lively and arguably spellbinding job of bringing the trials of the cursed Dutchman to life. There are moments of humor that don’t feel corny and moments of horror that don’t feel forced, working through each of the story’s moments with an understated believability. Ultimately, this production of ‘Dutchman’ is a beautiful, haunting and at moments downright exciting journey through the unknown, both in love and in the ocean’s waves.” – Tad Malone, Metroactive

“This ‘Dutchman’ is a combination of perfect casting and stunning visual effects.” - Michael J. Vaughn, Operaville

“Opera San Jose offers us an exemplary treatment of this compelling opera. The story races towards its inevitable conclusion with potent performances by all of the principals and chorus. In many ways, this is Wagner’s most accessible opera and this production is a very enjoyable and deserving version.” – Victor Cordell, For All Events

“As we’ve already come to expect, Opera San Jose continues to impress in this production, delivering a superb evening of opera for all. Director Brad Dalton has done superb work in bringing this epic high-seas quest to life on stage. All four principals delivered elegant targeted performances.” – Sherrie Perkovich, Communities Digital News

ROMEO AND JULIET

“What makes Hawaii Opera Theatre’s ‘Romeo and Juliet’ so exciting is that it celebrates the love story in all its glory while highlighting its message. The message of the production was conveyed primarily through effective staging and striking visual design, which used anachronisms to convey timelessness. The fast pace conveyed a sense of hurdling headlong, without pause or thought, into tragedy. Scenes change via carefully staged ‘freeze frames’ of the action that quietly melt away into the next scene, a powerful technique that created indelible moments, juxtaposing the feuding families with communal loss: separated groups facing off in anger versus everyone coming together in mourning.” - Ruth O. Bingham, Honolulu Star-Advertiser

CINDERELLA

***Available on Sony Blu-ray and DVD (click here to view)

“Somehow Opera San Jose and the Packard Humanities Institute have managed the impossible: a lavish full-scale staging conducted by renowned conductor Jane Glover, dazzling sets and costumes, and a young and talented cast. The music is both funny and well executed. Those who whine that modern operas lack hummable tunes will have nothing to complain about here.” – Hana Walder-Biesanz, San Francisco Classical Voice

“Although there is real life, art, and love at stake in the opera, Mary Dunleavy and her daughters in the opera romp and sing with convincing envy, selfishness, and desire in contrast to the sincere longing of their step-sister. It makes for more than just a lively and audience-friendly experience; we are actually transported from the conventional tale to the milieu in which we do care how things work out. One of the extraordinary things about the production is that, as staged by director Brad Dalton, it never lagged for all its narrative familiarity. It is a production with music to fill the heart and soul, to embrace the world and look for renewed possibilities of how it might again be.” – Lois Silverstein, Opera Wire

“This ‘Cinderella’ is given a theatrically riveting production by Opera San Jose; it is tauter and more dramatically compelling than many a Verdian story. The stage director Brad Dalton kept the stage action dynamic without gratuitous fussiness. The entire run was sold out so the company hurriedly added extra performances to accommodate audience demand.” – Heather Mac Donald, The New Criterion

“The physical production was easily the most lavish I have yet experienced in San Jose. Director Brad Dalton devised effective stage pictures, practiced cleverly varied stage movement, and the characters interact with broad clarity of purpose that carried to the top tier. He managed to not only enliven the proceedings, but also successfully kept the pace going throughout the evening. The buoyant production of such high professional standard made this a once-in-a-lifetime opera-going event that had audiences standing and cheering.” – James Sohre, Opera Today

“The pacing is purposeful, the sets are beautiful, and the actors hit their marks with lively characterization. A sold-out audience welcomed the musical prodigy Alma Deutscher for the North American premiere of her opera.” – Ted Malone, Metroactive

“The production is delightful. The overall ambience starts with well-delineated characters, portrayed by excellent singer/actors. In addition to the leads, comic highlights are offered by the frivolous stepsisters, the supercilious king, and the foppish minister, while magic is provided by the mysterious woman in the forest who will appear at the end in a different form. The opera is compelling, with beauty as the defining characteristic.” - Victor Cordell, For All Events

ALCESTE

“Opera Boston’s production of Gluck’s ‘Alceste’ reveals it as thrilling musical theatre. Brad Dalton’s staging transfers the action from myth to the human reality of a nineteenth-century religious commune. There is a strong Shaker influence, which inspired Dalton to produce personal, intelligent and emotional work. With the assistance of choreography from Prometheus Dance, Dalton keeps the cast in constant compelling motion. At the end, flowers bloom again in the charred landscape of the setting; Alceste, the character, and the opera in which she appears, have come to life again.” – Richard Dyer, The Boston Globe

“Opera Boston, you’ve come up with a winner: a superb production of Gluck’s rarely staged 1776 opera ‘Alceste.’ Director Brad Dalton fashioned a modern way to stage the opera that insulted neither the composer’s craft nor the audience’s intelligence. Dalton reset the action within a strict, slightly claustrophobic religious community. This inspired decision smoothly complemented and illuminated the fervent solemnity of Gluck’s miraculously pure and powerful score. As the evening went along, I found myself caring deeply about Alceste and Admete and their children as people, as a real, loving young family.” - T.J. Medrek, The Boston Herald

(Five-star rating) “The production is a must-see event and fortunately the performance paid fitting tribute to this glorious work. Brad Dalton’s staging conveyed the profound grief of the community when their leader Admete lies dying, as well as the heroism of his wife Alceste in resolving to take his place in death. Dalton poignantly shows the couple reunited with their children after Admete’s health is restored, an outwardly happy scene fatally darkened by Alceste’s knowledge of her underworld destiny.” – George Loomis, Financial Times of London

“The opera was executed with some of the finest set design and lighting and smart direction one could hope for. Brad Dalton’s staging was both striking and, when set against the absolutely wonderful lighting of Christopher Ostrom, it was darn near hypnotic. Opera Boston brought us one of the oldest operas around, updated it with a little Twentieth Century Shaker mystique and bathed it in glorious color such that the sum of the parts here carried the day in grand fashion. Well done!” – Paul Joseph Walkowski, OperaOnline.us

THE MAGIC FLUTE

“Opera San Jose captivates audiences with Mozart’s ‘The Magic Flute.’ The new production manages to unite the competing threads of the composer’s late-life score. Often captivating, the cast inhabited their roles with vitality, especially the three Genies, who were irresistible.” – Georgia Rowe, San Jose Mercury News

“Brad Dalton’s stage direction is detailed – there is a lot of movement and we never lack for activity to watch on stage. There were many adorable children in period dress on stage during the overture; this was effective and it was clear the audience approved. The evening ends prettily with the stage transformed back into the late Baroque theatre of the first act. The ideals of the Enlightenment have triumphed in a satisfying manner, and the enthusiastic audience roared with approval.” - Charlise Tiee, The Opera Tattler

“One of the things I like most about Opera San Jose’s ‘Magic Flute’ is that you’re never far from the idea of opera as a very human endeavor. There’s never a moment when you aren’t aware that it is about the singer and the audience. Smashing.” – Cy Ashley Webb, Stark Insider

“Under the inspired hand of director Brad Dalton, all aspects of this production are thoughtfully and deliberately presentational in the most theatrical, delightfully self-conscious manner, a concept that works wonderfully with the opera’s theme of fantasy magic. The entire cast is alert and playing to the hilt moment-to-moment. No ‘park and bark’ performances here. The production is brilliantly conceived and mounted. The set design is filled with visual surprises as well as modern electrical flourishes.” - Paul Myrvold, Out ‘n’ About Magazine

“Opera San Jose’s ‘Magic Flute’ is a funny, endearing, light-hearted and accessible show that has the potential to create a new generation of opera lovers. With its effortless choreography, it hits all the right notes.” – Ted Malone, Metroactive

“This ‘Magic Flute’ may be the best show I have ever seen at Opera San Jose. The performances were incredible, the story was great, the music was beautiful, and the costumes were gorgeous. Ever since Brad Dalton’s ‘Madame Butterfly’ production, Opera San Jose has been drawing me in. Make sure you get tickets for one of the final performances – they are close to selling out!” – Cynthia Corral, The Opera Novice

“Because of the excellent stage direction by Brad Dalton, every one of the singers acts their respective role beautifully. One of the best productions ever presented by Opera San Jose, this ‘Magic Flute’ looks beautiful and sounds wonderful. It’s a magical evening.” - Iride Aparicio, Cultural World Bilingual

IDOMENEO

“Philanthropist David Packard injects a passion for Mozart and nearly $4 million into Opera San Jose’s stunning new production of ‘Idomeneo.’ It is a jaw-dropping, must-see evening of opera. This marathon is an exhilarating spectacle that is ever more glowing. At the end, the audience leapt to its feet. Go!” – Richard Scheinin, The Mercury News

“Opera San Jose produces a spectacular ‘Idomeneo.’ Director Brad Dalton maintained a graceful flow of the 73-member cast, the largest in the history of the company. This remarkable production is part of a partnership that will enhance the cultural richness of our region as well as benefit the local opera company’s reputation.” – Mort Levine, The Mercury News

“Opera San Jose made its very first ‘Idomeneo’ a truly lavish affair. The great thing is, the money went not into showy elegance but to elegant authenticity.” – Michael J. Vaughn, Operaville

“Dalton cleverly casts a non-speaking actor as Neptune who haunts the stage when Idomeneo sings about his fateful choices, keeping the focus on the central conflict of the story. I was also taken with the large and elaborate three-story temple used in the third act that gave the finale the grandeur it needed.”– Outwestarts.blogspots.com

“Arguably the most extravagant production ever at Opera San Jose, ‘Idomeneo’ is overwhelming audiences with its impact at the California Theatre. ‘Idomeneo’ is a hit of a spectacle, backed by some extraordinary singers and strong stage direction. Director Brad Dalton brought plausibility and energy to the scenes. This is a one-time ‘Idomeneo’ to treasure. It is another headline-making production for Opera San Jose, after Brad Dalton directed last season’s ‘Anna Karenina.’” – D. Rane Danubian, artssf.com

“Such an excellent production in the California Theatre is a rare and special experience for audiences.” – Thomas Busse, San Francisco Classical Voice

“With its excellent execution by a talented cast of singers and dancers, Opera San Jose has done an exquisite job in bringing ‘Idomeneo’ to the Bay Area.” – Paria Amini, Mode Bay Area

“This blockbuster ‘Idomeneo’ has drawn opera-lovers from as far away as New York to attend this spectacular opener for Opera San Jose. This opera seria has become a lively and compelling human drama, vividly evoking the glory of ancient Greece. The artistic team brought this huge production to exceptional excellence, with major responsibility going to director Brad Dalton. This was truly a once-in-a-lifetime operatic experience.” – Susan Steinberg, Chair of The Department of English at USF

“Brad Dalton’s stage direction, so impressive in past productions at Opera San Jose, once again kept the action moving. There were plenty of visual details onstage to alleviate the long running time. Particularly memorable was the temple sacrifice scene; there was really nothing missing in this production. Bravo to all!” – Beeri Moalem, San Jose Classical Music Examiner

“Director Brad Dalton moved his performers through the opera with deft efficiency.” – Joshua Kosman, San Francisco Chronicle

A STREETCAR NAMED DESIRE (w/Renee Fleming at Lyric Opera of Chicago, Los Angeles Opera, Carnegie Hall, and the Barbican in London)

“In Brad Dalton’s staging, a pretty young man in a white suit is an eerie presence throughout. As Blanche takes leave of the real world with a haunting repetition of the words ‘whoever you are,’ she takes the ghostly young man, the love of her life who proved so elusive, by the hand. Hell, I’m not sure that’s even better than the original.” – Edward Seckerson, The London Independent

“Alongside the London Symphony Orchestra, this made for a riveting performance, none more gripping than the torrid outburst depicting the rape, which was effectively staged as a frozen tableau under lurid red lights in Brad Dalton’s production.” – Richard Morrison, The London Times

“Brad Dalton’s production makes intelligent sense of the space. ‘Streetcar’ won’t get a better performance of the opera than this one.” – Barry Millington, Evening Standard

“The staging devised by director Brad Dalton flies by and has that crucial quality of drawing you into situations and making you keen to know how things are going to turn out.” – Geoffrey Norris, The Daily Telegraph

“The audience responded with a long ovation, especially for Ms. Fleming, who had finally brought ‘Streetcar’ to New York” – Anthony Tommasini, The New York Times

“The greatest surprise I’ve had recently was the pleasure I found in Los Angeles Opera’s ‘Streetcar.’ The characters stand out in high relief against the spare surroundings as cannily directed by Brad Dalton. The presentation was an ideal example of semi-staged opera: visually alluring but restrained enough to allow you to hear the score with new ears. The work’s dramatic arc felt more vivid with fewer distractions.” – Zachary Woolfe, The New York Times

“The response to ‘Streetcar’ on Sunday was rapturous.” – Mark Swed, Los Angeles Times

“The final image of Blanche in white beside a young man recalled her tragic wedding, the innocence that was destroyed and the genteel hope that has now been crushed for good. Her hallucinatory flashbacks of her ill-fated marriage seem to emerge as much from the production as from her mind, so closely are the two expressionistically bound up with each other. This is the most moving rendering of Williams' masterpiece since Van Hove's harrowing anti-realistic staging with the aptly named Marvel dominating her production with the same fearless emotional command as the equally marvelous Fleming.” – Charles McNulty, Los Angeles Times

“Director Dalton created a convincing, semi-abstract theatre space for the production, which is sold out for all four performances.” – John von Rhein, Chicago Tribune

“In this steamy opera adaptation, ‘Streetcar’ ignites the Lyric Opera stage. The production features the musicians out of the pit and onto the stage; Tennessee Williams would approve. The music and the acting intertwine to create a fluid synergy.” – Katy Walsh, Chicago Theatre Review

“Directed with great flair and imagination by director Brad Dalton, the artful staging worked very well indeed.” – Lawrence A. Johnson, Chicago Classical Review

“Director Brad Dalton has wisely moved away from the extravagant realism of the San Francisco production to a more psychological staging which includes Stanley’s friends as a kind of Greek chorus, and also includes a vision of Blanche’s husband.” – Dennis Polkow, New City Stage

“While Brad Dalton’s direction and scenery were mightily effective, they were daringly spare. The orchestra is placed upstage behind a simple platform that juts out toward the audience over the usual pit. This creates an immediacy that allows director Dalton to make every gesture connect. Every nuance of character relationship has a visceral impact. Mr. Dalton’s direction was a model of creativity and restraint amounting to quite a brilliant theatrical effect. Opera San Jose’s impressive ‘Streetcar’ should be required viewing for all who care about adventurous programming and first-class stagecraft.” – James Sohre, Opera Today

A STREETCAR NAMED DESIRE (at Washington Opera and Austin Opera)

***Named second in the Top Ten Arts Events in Austin for 2003

“This East Coast premiere of ‘Streetcar’ has been given an earnest, consummately professional production. Stage director Brad Dalton and designer Michael Yeargan have placed the action in a ‘huge tilted vortex’ with appropriately claustrophobic effect.” – Tim Page, The Washington Post

“Austin Lyric Opera built on its success with this production of ‘Streetcar,’ staged by director Brad Dalton. Dalton kept the drama tightly focused on Michael Yeargan’s set, which was a single room lined with doors and narrowing towards the back like a telescope. Through the production, Austin Lyric Opera made a strong statement about the vitality of its own artistic vision. It’s good to have another Texas company join Houston and Dallas as notable opera producers.” - Charles Ward, Houston Chronicle

“Michael Yeargan’s sets and Brad Dalton’s stage direction assumed a starring role in the production. Psychological expression was the name of the game. The concept was effective, as was the minimalist scenery and furniture.” – Staff review, Opera News

“Dalton and Yeargan felt liberated enough to deliver a ‘Streetcar’ unlike anything seen before. Dalton takes full advantage of the visual madhouse, adding hunky men – extra Stanleys – who menace Blanche, along with visualizations of Blanche’s dead husband, ghostly relatives and black-draped women carrying candles. His actors slash and flitter all over the raked stage. Dalton has coached some potent performances from the singers. It’s a blazingly original take on an indelible classic.” – Michael Barnes, Austin American Statesman and Opera Now

“The woman from Mississippi walks down the unfamiliar New Orleans street and sees dingy doorways crowded with sweaty men, their bodies bathed in the molten gold of sunset, their wolfish eyes all on her. In her sister's tiny French Quarter flat, she speaks of funerals back home and the room transforms into a great Gothic mansion, inhabited by a corpselike woman in white bedclothes and spectral mourners in black, carrying candles. She tells a man she is dating about her first marriage, which ended in her husband's suicide, and the young man appears at her side, to be rejected by her once again. These are the visions of Blanche Dubois and we shared them with her in Austin Lyric Opera's production of the opera of that name. Stage director Brad Dalton and his design team built the show around Blanche's point of view, translating her mental state -- distorted, persecuted, exaggerated, haunted by a past she cannot turn loose of -- into literal elements of the setting. The production takes great risks in the service of the work and holds nothing back, resulting in an achievement of grand proportions: a vision of madness from the inside.” – Robert Faires, The Austin Chronicle

“The results are a triumph for Austin Lyric Opera. Set, stage direction and acting merged into a seamless unity, all serving the theatrical point. Maybe Previn’s ‘Streetcar’ didn’t move in San Francisco, but in Austin it was powered by electricity.” – Mike Greenberg, San Antonio Express-News

A STREETCAR NAMED DESIRE (at Hawaii Opera Theatre, Opera Grand Rapids, Townsend Opera, and Fresno Opera)

“There were clever solutions in staging and even very challenging scenes worked well. Ghosts wandered through scenes, underscoring the drama unfolding in Blanche’s psyche, and staging echoed shifting relationships. In the final scene, Blanche exits on a pianissimo, leaving reality for insanity/death to join her husband’s ghost.” - Ruth O. Bingham, Honolulu Star-Advertiser

“All actors pull their weight, effortlessly hitting every high note and low note while both acting and emoting, ensuring that the story is told and characters are developed. Overall, Hawaii Opera Theatre’s ‘Streetcar’ is a fabulous production that compares to none other. With superb acting, an elegant score, precise lighting and refined costumes, this is one opera you will regret missing.” – Staff Review, Hawaii State Theatre Council

“Opera Grand Rapid opens its season with a powerful performance of ‘A Streetcar Named Desire.’ Stage director Brad Dalton and conductor Robert Lyall have revised the original production from long-winded ultra realism to a more concise psychological exploration. Edited down, this ‘Streetcar’ is full of powerful moments of great musical drama.” – Jeffrey Kaczmarczyk, Grand Rapids Press

IL TROVATORE

“From the pulsing pace of its opening scenes - credit to director Brad Dalton - to the appealing performances of the key singers, this ‘Il Trovatore’ was a strong one. The chorus turned in some fine ensemble acting – neatly choreographed by Dalton – while singing with lusty commitment.” - Richard Scheinin, San Jose Mercury News

“I appreciated stage director Brad Dalton’s approach, which gave full expression to the brutality that reigned over the opera’s medieval world, including a gory scene of prisoner torture.” - Michael J. Vaughn, Operaville

COSI FAN TUTTE

“Hats off to director Brad Dalton for a fabulous performance of ‘Cosi’ at the always impressive California Theatre.” – Sherrie Perkovich, Communities Digital News

“The production succeeds in centering the poignant beauty of the intimate over loud flashy operatics as the cast sees the show through to a funny, heartwarming ending.” – Ted Malone, Metroactive

“Director Brad Dalton is the wizard behind the curtain of this marvelous, winning production. It’s classy and outrageous, more than a little bit randy, while making the most of Mozart’s perfect, celestial music. Rarely has an OSJ production featured such assured acting. Often it’s forgotten that opera is a form of theatre; this is theatre.” – Richard Scheinin, San Jose Mercury News

“One of the strengths of this new production is the way it balances the opera’s extreme mood swings, from silly low humor to lofty declarations of courtly love. The results were polished, hugely enjoyable, and thought-provoking too. As staged by director Brad Dalton, even the most intricately timed comic bits ran like a well-oiled machine, and the performers seemed to be enjoying every minute of the ride. Most importantly, Dalton trusts the music so the ease and fluency of Mozart reigned supreme.” – Georgia Rowe, San Francisco Classical Voice

“Opera San Jose’s production shows excellence in all aspects. The superbly attractive cast plays the comedy unreservedly and with gratifying ease. The audience stood to show their appreciation at the curtain call.” – Paul Myrvold, Out and About Magazine

“Opera San Jose triumphs in a sparkling production of this timeless favorite. Overall directorial kudos go to Brad Dalton. The men’s spoof of an “Albanian dance” reduced the audience to helpless giggles. Altogether a wonderful package of enjoyment – don’t miss it!” – Susan Steinberg, The Independent

“With excellent physical humor coached by stage director Brad Dalton, this ‘Cosi’ is an exceedingly enjoyable production. Delivered with a saucy and comic energy, the stage director does well in tweaking cast energies and crafting gags; there is solid acting from all the singers.” – Michael J. Vaughn, Operaville

ANNA KARENINA

“Sunday’s performance was the best thing that ever happened at Opera San Jose. This new production raised company standards across the boards bringing the opera to full emotional life. Brad Dalton’s direction miraculously holds the universe of human expression in balance and clarity.” – Scott McClelland, Metro Silicon Valley

“This compelling ‘Anna Karenina’ marks a magnificent achievement for the entire Opera San Jose Company. A completely new staging was devised by the outstanding director Brad Dalton. The audience’s standing ovation amply showed their appreciation for a production that captured the insights of one of the world’s best-known novels.” – Mort Levine, San Jose Mercury News

“The staging was done with perfection, creating a continuous whole out of almost a dozen separate parts. Incredible. The concept was tremendous and the execution was flawless.” – Philip G. Hodge, The Opera Nut

“Miracle of miracles: there’s a brand new opera given a glorious West Coast premiere by Opera San Jose. Stage director Brad Dalton coordinated the beautifully detailed and faultlessly executed stage activity, from the unobtrusive teams of servants, to the swirl of party guests and the psychologically telling cast movement in the pivotal railway station scenes. There were prolonged standing ovations.” – Susan Steinberg, The Independent

“The production brings the composer’s vision to the stage with affection and respect.” – Georgia Rowe, San Francisco Classical Voice

“Brad Dalton’s production is impressive. Everything came together perfectly, and without looking overworked or effortful.” – Charlise Tiee, The Opera Tattler

“At the end, Anna literally vanished off into the light at the height of her opium-induced nightmare. The effect left the woman next to me audibly crying.” – Beeri Moalem, San Jose Examiner

“The gamble to open the season with an unknown work was a gamble that clearly paid off for Opera San Jose, given the standing ovation at the final curtain. There are powerful lingering images: the railroad train coming straight at the audience with a blinding beacon of light and a giant mirror showing not just Anna, but the whole audience too, as if we were the society ostracizing her.” – Paul Hertelendy, artssf.com

The entire production’s success and visual precision was in large part secured by the stage director Brad Dalton along with his entire design team. It is a stellar handling of this Russian classic, executed with taste and respect. Not to be missed.” – Emma Krasov, ArtAndEntertainMe.blogspot

“Director Brad Dalton deserves much of the credit for the power of the evening; the action was propelled from one scene to the next with imaginative stage movements and choreography (a Belle Époque ballroom dance, eerie stop-action street scenes) and a cinematic rush that swept from one scene to the next without pause.” – Richard Scheinen, San Jose Mercury News

“With the flying sets of Steven Kemp and an expert job of staging by director Brad Dalton, the opera created the sweep and smoothness of an epic film. The opera’s first act is so quickly paced that it leaves its spectators sitting on the edges of their seats, as if they were watching a Hitchcock film. The final image of Anna walking into the light of the train is iconic and striking.” – Michael J. Vaughn, The Opera Critic

“The San Jose production is first-rate. The staging by director Brad Dalton is crisp and direct, conjuring a world of tasteful extravagance in a few efficient and well-chosen strokes.” – Joshua Kosman, San Francisco Chronicle

FAUST

“Strategic cuts combined with a lively, comically attuned approach by director Brad Dalton serve this production of ‘Faust’ well. The group scenes are especially entertaining. Dalton uses his cast to create a number of arresting images, notable when Mephistopheles turns the local congregation into automatons, pressing their upside-down hymnals to their foreheads to signal their demonic possession. Dalton also deploys a young girl to appear as the spirit of Marguerite’s little sister, a touching addition.” – Michael J. Vaughn, Operaville

“Opera San Jose presents a sensitive interpretation of the classic legend of Faust. Director Brad Dalton and designer Steven Kemp wanted to create a minimalist set that would emphasize the spiritual nature of the opera, and in my opinion, they were eminently successful. I have no intention of giving away director Brad Dalton’s two secrets for the ending scene, but I heartily approve of both. I strongly recommend buying a ticket right now for one of the remaining performances” - Philip G. Hodge, The Opera Nut

CARMEN

“Rolled out in spectacular fashion, this was the best of New Orleans Opera’s recent stagings of ‘Carmen.’ The production more than fulfilled our expectations in nearly every department. Director Brad Dalton deserves praise for coordinating the complex details of moving such a large cast around the stage. It all made for a passionate and lively production.” – Dean M. Shapiro, New Orleans Advocate

‘The New Orleans Opera began its new season with a beautiful rendition of the classic opera ‘Carmen.’ In this production, French mezzo-soprano Geraldine Chauvet gives a riveting physical and sexual performance. The evening is immensely fun, often darkly so. With amazing performances from the entire cast, ‘Carmen’ should be seen as a rare event in New Orleans.” – Critic’s Pick, NOLA Defender

CAVALLERIA RUSTICANA/I PAGLIACCI

“The stage direction by Brad Dalton was spot-on, which couldn’t have been easy given the size of the cast when the chorus and supers were onstage. These were commendable and enjoyable performances of both operas.” – Dean M. Shapiro, New Orleans Advocate

TOSCA

“’Tosca’ enchants in Opera San Jose opener. The production as a whole was entertaining, titillating, and, at moments, wonderfully heartwarming.” – Elijah Ho, San Jose Mercury News

“Under the secure direction of Brad Dalton, there were no distracting novelties.” – Heather Morris, Peninsula Reviews

“Opera San Jose begins its new season a powerfully dramatic ‘Tosca.’ The audience at last Sunday’s performance leapt to their feet with loud applause and bravos at the fall of the curtain.” – Mort Levine, Milpitas Post

“This ‘Tosca’ features searing drama. Brad Dalton keeps this grand cast moving and involved throughout the performance. This ‘Tosca’ was well worth the time and attention with its magnificent performance and cast.” – Camille Bounds, Gilroy Dispatch

“In presentation, Opera San Jose’s ‘Tosca’ is excellent. It got a long standing ovation on opening night.” – Iride Aparicio, Cultural World Bilingual

“Opera San Jose opens its season with an impressive ‘Tosca.’ What a joy it was to hear and see this gripping piece with its timeless human conundrums performed so well. The production won a lot of fans, as the final ovation demonstrated.” – Charlise Tiee, San Francisco Classical Voice

MADAMA BUTTERFLY

“As important as the singing were the magical effects of this ‘Butterfly’s’ elegant staging, sophisticated in ways brand new to the company. Director Brad Dalton has chosen to understand it as a series of brush strokes, very Japanese, and that’s how the production unfolds, with graceful elegance. The setting resembles a wide screen in a movie theatre; at various times, it fills beautifully with images of starry nights, spring flowers, swirling snowfalls or close-ups of patterns from Japanese prints.” – Richard Scheinin, San Jose Mercury News

“Run, don’t walk, to buy your tickets! The power of this production is off the charts. What director Brad Dalton has done with this operatic tragedy is breathe life and vibrancy into the characters by giving them complexity, nuance and naturalness that is every bit as rich as the music. The elements come together in a perfect storm, which led to standing ovations at the end of the opening night performance.” – Sarah Bobson, The Independent

“There is only one word to describe the opera I saw last night – Beautiful. I have seen ‘Butterfly’ many, many times but this production gave me new insights into both of the male leads. It is fascinating and I look forward to seeing it again.” – Philip Hodge, The Opera Nut

“Tremendously entertaining production of ’Madame Butterfly’ brings magic and tears to Opera San Jose. As a whole, the evening is gorgeous, tragic, emotional and an auditory blessing. The surprise ending, which brings a swift karmic payment to Pinkerton, made the whole story much more palatable to me.” – Cynthia Corral, The Opera Novice

“Director Brad Dalton leads his cast through a graceful production that leaves room for the subtleties of both score and story.” – Michael J. Vaughn, Operaville

“What struck me was the sheer beauty of the evening.” – Shay Canty, The Stunning Post

“Anyone who makes it out of Opera San Jose’s production of ‘Madama Butterfly’ without a lump in their throat, if not a pocketful of wet hankies, must be too afraid of displaying emotion to fully acknowledge the terrible tragedy at the core of this great work. And the ending – let’s just say that our cowardly Lieutenant Pinkerton had to deal with far more than remorse, and his mostly silent American wife managed to say more about herself and her surprising strength than any other Kate I’ve encountered.” – Jason Serinus, San Francisco Classical Voice

“The performers gave every ounce of themselves to the audience in their emotional presence on the stage. Not one detail went unnoticed, from the starry sky to the gorgeous kimonos to the petals all across the ground. Opera San Jose’s ‘Madama Butterfly’ was flawlessly executed – the spectacular cast, stunning set design, and theatrical components fused together to create the perfect opera experience.” – Paria Amini, Mode Bay Area

DON GIOVANNI

“New Orleans Opera sexy new ‘Don Giovanni’ offers a visually captivating show, especially well-acted performances, and a musical feast that is simply heavenly. For its musical success alone, this ‘Don Giovanni’ is worth hearing, but add to that a truly marvelous staging by director Brad Dalton and audiences are seduced by a night of provocative and sexy theatre. Transferring the opera to a roughly 1920’s Jazz Age setting, among flappers and a carefree café society, Dalton enlivens the tale, heightening the passions with the same style he brought to an unforgettable ‘Carmen’ a few seasons ago. The director has created a modern-dress production that liberates the other characters as they are equally enthralled and/or repulsed by Don Giovanni. Collectively, they are now finally a true match for our irresistible and licentious title figure.” – Theodore P. Mahne, The Times-Picayune

“This ‘Don Giovanni’ offers a timely counterpoint to the latest political headlines.” – Dean M. Shapiro, New Orleans Advocate

LA BOHEME

“Hard times are still upon us, but by some minor miracle, Santa Barbara has experienced repeated highs in one of the most expensive cultural propositions: grand opera. That thankful trend continued with Opera Santa Barbara’s ‘La Boheme,’ a sturdy take on the Puccini chestnut. This ‘Boheme’ fared so persuasively because it understood the opera on a human scale. What better way to cap off such a stellar year?” – Josef Woodard, SB News-Press

“The staging by Brad Dalton was impressive, integrating the tricky balance between boisterous joie de vivre and romantic loss. One could almost feel the presence of Van Gogh walking the streets and the world of lit cafes and dark alleyways.” – Robert F. Adams, Casa Magazine

“Opera Santa Barbara’s sumptuous, polished and lyrical production of ‘La Boheme,’ that paean to youth and lost love, showed how far OSB has come as a company. The production is a resounding start to the OSB season.” – Margo Kline, Noozhawk

“The yin and yang of raucous irresponsibility and tender isolation are what make the opera work and in this production, they meshed seamlessly” - Charles Donelan, SB Independent

“OSB’s production of ‘La Boheme’ was a sell out. Director Brad Dalton captured the four-act work wonderfully. It was a production not to be missed!” – Richard Mineards, Montecito Miscellany

RIGOLETTO

“This powerful production of ‘Rigoletto’ won over the large audience at the Granada and brought them to their feet for a loud ovation at the finale. A lot of fun in ‘Rigoletto’ stems from the tightly choreographed action sequences and the strong physical performances turned in by the chorus as directed by Brad Dalton who made these into effective spectacles. Done this well, ‘Rigoletto’ remains one of the greatest and most enduring of all Italian operas.” – Charles Donelan, The Independent

“The cast came through with great voices and splendid acting that brought standing ovations for this new production at Opera San Jose. Stage direction is by Brad Dalton, who returns to the company having done many memorable productions here. He cleverly brought out the many textures and emotional confrontations in the opera. It makes for a most memorable theatre experience.” - Mort Levine, Milpitas Post

“Opera San Jose’s opener moves from strength to strength; it astounds and amazes. This ‘Rigoletto’ is so direct and fast paced, it’s as if the bel canto world of Bellini and Donizetti never happened. Suffice to say that the production negotiates such suspense that even those familiar with the story might entertain the notion of a different outcome.” - Cy Ashley Webb, Stark Insider

“The final scene is breaking hearts again in the powerful production of ‘Rigoletto’ with which Opera San Jose has opened its season. The tragedy is heightened in this production, directed by Brad Dalton, which is filled with the colors of lust, blood and devilish doings.” – Richard Scheinin, San Jose Mercury News

“The opera was masterfully presented and ended in a standing ovation. In a unique touch of genius, stage director Brad Dalton started the production with Rigoletto entering in front of the curtain, which impacted the evening from the beginning. As staged by Dalton, the acting by the strong cast and chorus made this one of the best productions ever presented by Opera San Jose.” – Iride Aparicio, Cultural World Bilingual

“You are fortunate to be able to see this production of ‘Rigoletto,’ which highlighted the drama from the opening menacing chords to the anguish of the final scene.” – Heather J. Morris, Peninsula Reviews

“I thoroughly enjoyed Opera San Jose’s ‘Rigoletto.’ The fine production is excellent in so many ways.” – Paul Myrvold, Out ‘n’ About Magazine

“In Sunday’s performance, the dark humor was particularly potent. Rigoletto does an excellent job of pissing off all of the courtiers in the opening scene, employing a handful of gags from director Brad Dalton.” – Michael J. Vaughn, Operaville

LA CLEMENZA DI TITO

“How do you solve a problem like Mozart’s gorgeous yet deeply flawed final opera, ‘La Clemenza di Tito’? If you’re Opera Boston, you solve it with a smart modern production directed by Brad Dalton that takes a dark-comedy approach to the action.” – T.J. Medrek, Boston Herald

“Brad Dalton’s light-footed production deftly balances period and modern touches with simple yet effective sets and modern costumes that give the assassins a sleek look as they slip under the curtain to pursue their prey.” – Jeremy Eichler, The Boston Globe

“Opera Boston’s ‘La Clemenza di Tito’ soars. The production gives us sets that look modern but also decidedly Roman. To Opera Boston, well done all around for a superb rendition of this Mozart masterpiece.” – Paul Joseph Walkowski, OperaOnline.us

DEAD MAN WALKING

***WINNER of 4 Helpmann Awards, including “Best Direction of an Opera” to Brad Dalton

“With moments of phenomenal impact, this timely and tense production may have you close to tears. Don’t miss this deeply moving, unforgettable experience.” – Graham Strahle, The Australian

“Confronting and heartfelt, ‘Dead Man Walking’ is a theatrical triumph for State Opera. It brings the issues of forgiveness and justice right into the faces of the audience.” - Ewart Shaw, The Advertiser

“There is much to praise in this production. The cast, orchestra and direction were all superb.” - Barnaby Ralph, M/C Reviews

“There was barely a dry eye in the house as Joe DeRocher succumbed to his fate, regardless of the fast that he had finally confessed to his guilt. It was rare in theatre for an audience to be as still as those at this performance; that is a testament to those who brought it to the stage.” – Arna Eyers-White, DB Magazine

“This production of ‘Dead Man Walking’ is taking Adelaide by storm.” – Louise Nun, Herald Sun

“The intensity of the drama dominated the production; State Opera of South Australia has another hit on its hands.” – John Slavin, The Age

Theatre/Musical THEATRE Reviews

ORSON’S SHADOW

“As directed by the brilliant Brad Dalton, WHAT’s production of Orson’s Shadow (running in repertory with Rhinoceros), is rich in backstage goings-on: gossip, old feuds, new slights. What lifts it out of the pages of the tabloids is the clear vulnerability of each character, the desperation in both Welles and Olivier, the sadness behind each man’s striving for dominance in the creation of the play they both despise. Dalton could easily have gone for sleaze (the script clearly would have allowed it) but goes instead for something lighter: empathy, a wry understanding of his characters’ fears and motivations.” - Ptownie

“Brad Dalton does an outstanding job directing this high-powered ensemble. The play, which is well-researched and rich with expository detail, flows well in his sure hands, riding emotional highs and lows with ease. The drama is vivid and the laughs are resonant. Pendleton’s darkly humorous drama, which premiered at the Steppenwolf Theatre in Chicago in 2000 and had a long run off-Broadway in 2005, feels more adult, more theatrically satisfying.“- Howard Karren, Provincetown Banner

“Brad Dalton’s direction helps the cast to transform into the legendary actors, masterfully balancing their vulnerabilities with their larger-than-life personalities. To say Wellfleet Harbor Actors Theater’s “Orson’s Shadow” is well acted is an understatement. The show’s noteworthy actors have the monumental task of convincingly portraying some theatrical greats from the stage and silver screen, which they deftly achieve, creating an absolute tour de force.” - Ellen Petry Whalen, The Cape Cod Chronicle

INVENTING VAN GOGH

“With the often gorgeous lighting by Chris Ostrom, bringing to life Vincent’s favored yellows, and the eternal appeal of trying to figure out what makes Vincent – or any artist – tick, ‘Inventing Van Gogh’ has its many rewards.” – Kay Kipling, Sarasota Magazine

BLACK PEARL SINGS

“A potent world premiere, this production is often affecting and wryly funny. Director Brad Dalton’s effective staging stresses and supports the depth and intensity of the emotional core of the play; it also injects enough action to maintain a sense of forward motion. This ‘Black Pearl Sings’ really does sing.” – Everett Evans, The Houston Chronicle

“Moving, funny, and intellectually compelling, this production is one of the best anywhere so far this season. Brad Dalton directs the play with moody grace.” – Lee Williams, Houston Press

NICKEL AND DIMED

“’Nickel and Dimed’ at Stages is full of comedy and pathos.” – Everett Evans, Houston Chronicle

THE UNSEEN

“Stage’s production presents the play to best advantage, with forceful direction by Brad Dalton. His staging of the action helps maintain a suitably ominous and oppressive atmosphere. Often potent and intriguing, ‘The Unseen’ should leave audience members with plenty to think about and discuss.” - Everett Evans, The Houston Chronicle

“Stages Theatre can add ‘The Unseen’ to its list of Craig Wright successes. The actors are mesmerizing and move over Wright’s landscape with speed and clarity under Brad Dalton’s dead-on direction. Truly haunting, the production is electrified by a strange urgency and deep understanding of the subject matter.” – Lee Williams, Houston Press

THE GREAT AMERICAN TRAILER PARK MUSICAL

“Directed by Brad Dalton, ‘The Great American Trailer Park Musical’ earned national recognition for Stages as producers from around the country came to see the play in order to assess the show’s potential in their own venues. According to the show’s creators, this is the single most successful production of the show to date. There are talks about how much this production will be a part of the national tour.” – Staff Review, The Observer

“In Stages' energetic Houston premiere, the production takes the raucous concept of the show and runs with it. Director Brad Dalton has decided the only way to handle this material is full-steam-ahead. Sheer guts, speed, energy and the cast's talent carry the show. It makes for good laughs for all.” – Everett Evans, Houston Chronicle

“This frothy bubble of silliness features a cast who capture their characters in bold, broad and colorful strokes. This all comes together under Brad Dalton’s zippy direction which keeps the action speeding along.” - Lee Williams, Houston Press

THE SPITFIRE GRILL

“Director Brad Dalton has done an exceptional job with this astute and atmospheric staging. Sensitive to the meaning of the writing and the moods of the characters, his staging underscores the point of each scene and song. Stages Repertory Theatre has cooked up something extra-special with its fine Houston premiere of this involving and ultimately inspiring work. It’s a richly rewarding experience. Don’t miss this one.” - Everett Evans, The Houston Chronicle

AN AMERICAN BRAT

“This hilarious new play is handled with such joy by director Brad Dalton and his wonderful cast that it comes off as immensely entertaining. The real strength of the production lies in the subtle but surprisingly emotional shift it makes from comedy to drama. Dalton’s direction is layered and artful, and he adds some perfectly theatrical images that have a quiet and lasting depth. There is real visual poetry at play here.” – Lee Williams, Houston Press

“Director Brad Dalton has staged an agreeable, robustly played rendition, including nice touches in the staging of the scene transitions. It is a real crowd-pleaser about the comic complications of love across ethnic barriers.” – Everett Evans, Houston Chronicle

CAROUSEL

***NOMINATED for “Best Musical” at the Austin’s Critics Table Awards 2007-2008

“The moments are beautifully staged by director Brad Dalton, who managed to find the vulnerable embers in the hearts of the characters and fan them into flames. The company delivered the kind of high-spirited movement and song for which American musicals are celebrated.”- Robert Faires, The Austin Chronicle

HAMLET

“The prince of a director Brad Dalton draws the audience in to a dark, well-focused production. The inclusion of music from ‘Frankie Goes to Hollywood’ is far from rotten in this Denmark and adds a delicious spice to the show. The mad Hamlet confronts Polonius reading a paperback copy of Nietzsche’s ‘Beyond Good and Evil’ and the traveling players transform their pantomime into a murderously unsettling music video. Dalton creates a wonderful contrast of the old and the new and the setup serves Dalton’s direction beautifully, allowing him to stage a number of stunning scenes.” – Fori Daniels, The Harvard Independent

“The director Brad Dalton showed rare brilliance, using modern techniques without making ‘Hamlet’ innovative for innovation’s sake. Anyone with an interest in theatre, or an open mind, would appreciate the creativity and brilliance of this production.” – Jenny Landau, The Harvard Crimson

EQUUS

“Not an ounce of the original Broadway play’s intensity is lost in this excellent production of ‘Equus.’ Under Brad Dalton’s able direction, the cast skillfully sustains a tense atmosphere, fueled by superb acting. The production wastes no time in drawing the audience into the action and the play releases its grip only after an evening of troubling and, ultimately, cathartic theatre. This ‘Equus’ should not be missed.” – William S. Benjamin, The Harvard Crimson

“In a lesser production, the play might be merely intriguing. Here, however, the obsessions of both patient and psychiatrist become our own. No room for safety is allowed. This immediacy stems largely from director Brad Dalton’s decision to stage the play in the round, with actors sitting only inches away from audience members. The believability of the horses is the first of many triumphs in the productions, but the real highlight of the evening is the dialogue between doctor and patient. All eyes are riveted to Alan from the moment he appears: fists clenched, shoulders tensed, face alternatively bitter and vulnerable. The final moments of the play would shatter a weaker mood. As it is, they are devastating.” – E. Selinger, The Harvard Independent