Harry Silverstein
reviews
Excerpts from reviews,,, entire review is linked where available.
San Francisco Opera La Boheme
“the visually and artistically stunning production directed by Harry Silverstein.”
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http://www.theepochtimes.com/n2/arts-entertainment/luisotti-puccini-la-bohme-san-francisco-opera-8121.html
Dallas Opera Rigoletto Opera News
Harry Silverstein's strong stage direction capitalized on the natural acting abilities of most of the cast, and it too complemented Verdi's complex score. The eye, as well as the ear, was engaged: we watched and heard passages and movements of sinuous, sinister conniving, feverish energy, claustrophobia and tender intimacy. One affecting moment came in the Act III quartet: at the front and stage right, Maddalena and the Duke, groping each other and involved in their romantic shenanigans, stood closer to the audience, upright and energetic. On the other side of the stage, and farther back, Rigoletto and Gilda witness the attempted seduction, bent over, huddled, quivering and distant from us, unable to do more than respond with fear and horror to the other goings-on.
http://www.operanews.com/Opera_News_Magazine/2011/7/Review/DALLAS__Rigoletto.html
Washing National Opera Le Nozze di Figaro
There are no gimmicky bells or whistles here, no libretto jazzed up with contemporary references -- there is simply director Harry Silverstein's obvious commitment to acting that is as accomplished as the singing. And, with an ensemble as talented as this one, it is like seeing Figaro for the first time -- fresh, funny and sparkling with wit. Add Mozart's score -- beautiful, like a complex mathematical equation we all intuitively get -- and the experience is sheer magic.
http://www.metroweekly.com/arts_entertainment/opera.php?ak=5138
Nozze Also in Opera News
Never underestimate the potential power of a traditional staging. Washington National Opera played it straight with Le Nozze di Figaro yet made it all seem remarkably fresh. Fluently directed by Harry Silverstein and designed by Carl Friedrich Oberle (originally for Houston Grand Opera) in a monochromatic color scheme that somehow avoided dullness, the production had an overriding elegance of structure and vitality of execution. The laughs came easily; the humanity behind the comedy emerged in telling fashion. On April 24 at the Kennedy Center, the cast gave a tight, sparkling performance, a genuine ensemble effort. Vocally, the performance was not necessarily one for the record books, but the singing nonetheless offered abundant character (several arias were judiciously and deliciously embellished), and the acting revealed consistent skill.
http://www.operanews.com/operanews/templates/content.aspx?id=16667
Houston Grand Opera Don Giovanni Opera News
Under his guidance, the energetic and polished young cast emphasized the dramatic motivation of their characters, making each understandable and sympathetic.
http://www.operanews.com/operanews/templates/content.aspx?id=3998
THE GOOD SOLDIER SCHWEIK
20th anniversary revival of the Kurka opera in a terrific new production by DePaul University opera director Harry Silverstein. Think of a manic hybrid between "Mahagonny," "Wozzeck" and "Catch 22," as staged by the Marx Brothers—that's "Schweik." It is brilliant music theater, packed with nonstop energy and lacerating wit...
Silverstein's fluid and inventive staging makes plain the show's Brechtian antecedents... I loved the three wacko psychiatrists in their straitjacket coats as much as I adored the placard-bearing nurses in their sexy chambermaid corsets, not to mention the powerful chorus of dying soldiers at the end of the opera. By John von Rhein, Chicago Tribune
Rigoletto San Francicso Opera
"Simple but inspired" Steven Winn San Francisco Chronicle
Don Giovanni Houston Grand Opera
"Richly revived by Silverstein, who inherited the Jarvefelt productions, again drew out rich characterizations from the cast. Every gesture had meaning but each meaning was carefully folded into the much larger flow." by Charles Ward Houston Chronicle
King World premiere at Canterbury Cathedral
"Staged simply but atmospherically by Harry Silverstein in the soaring nave of Canterbury Cathedral" By Richard Morrison London Times
"On a plain stage behind the small orchestra, Harry Silverstein directed with clarity and an intense focus on projecting inner turmoil." Robert Maycock The Independent
"The direction by Harry Silverstein had moments of brilliance" Robert Hugill
The Marriages Between Zones 3, 4 and 5'
DePaul Opera's director Harry Silverstein, afrequent Glass collaborator, once again showed that he is one of the city's finestopera directors, with a special knack for weaving the apparently fragmented into aseamless whole.
By Andrew Patner Chicago Sun-TimesJune 11, 2001
Houston Grand Opera Figaro
"Harry Silverstein's sharp-edged direction ensured that Friday's opening-night audience would see the modernity of the Count's situation." By CHARLES WARD Houston Chronicle
Director Harry Silverstein stages Mozart operas worldwide and his intricate comprehension of the composer is apparent. The surprise here is, even though you’ve seen the gag before and you know it’s about to happen, Silverstein and this cast can still make you chuckle. Houston Voice Online
Utah Opera Cosi
Director Harry Silverstein strikes a smart balance between comedy and drama and makes expert use of the Utah Symphony Chorus. One of his most clever choices is to let Benedetti and Chavez decide each night which suitors the sisters will choose. Finding out who ends up with whom is the last of many delightful payoffs in "Cosi fan tutte."
Opera Pacific Figaro
For Opera Pacific’s new production, director Harry Silverstein has focused on the fact that both Beaumarchais and da Ponte chose to make their points with humor. By trusting in this, Silverstein has reclaimed Nozze as a delightfully nimble comedy that makes the libretto’s trenchant observations about class struggle with a guffaw rather than a grimace. In truth, this production elicits more true laughter than any in my experience. By Michael Van Duzer
"Stage director Harry Silverstein found every comic note, every bit of business in a busy, precisely timed opera. His singers were wonderful actors as well, and they were getting laughs as well as applause."
"..on target comedic direction by Harry Silverstein." L.A. Times
Also here
Houston Grand opera Cosi Fan Tutte
The six lead performers, under the deft direction of Harry Silverstein, added their astute comic timing to a production that fully realized the potential...
By Cynthia Greenwood, Houston Press
Opera Delaware TONKIN
“OperaDelaware undertook this ambitious premiere, presenting it in a stripped down, propulsive production by Harry Silverstein (seen Dec. 4), conducted with authority by David Lawton.”
Patrick J. Smith, Opera News
San Francisco Opera La Boheme
“the visually and artistically stunning production directed by Harry Silverstein.”
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http://www.theepochtimes.com/n2/arts-entertainment/luisotti-puccini-la-bohme-san-francisco-opera-8121.html
Dallas Opera Rigoletto Opera News
Harry Silverstein's strong stage direction capitalized on the natural acting abilities of most of the cast, and it too complemented Verdi's complex score. The eye, as well as the ear, was engaged: we watched and heard passages and movements of sinuous, sinister conniving, feverish energy, claustrophobia and tender intimacy. One affecting moment came in the Act III quartet: at the front and stage right, Maddalena and the Duke, groping each other and involved in their romantic shenanigans, stood closer to the audience, upright and energetic. On the other side of the stage, and farther back, Rigoletto and Gilda witness the attempted seduction, bent over, huddled, quivering and distant from us, unable to do more than respond with fear and horror to the other goings-on.
http://www.operanews.com/Opera_News_Magazine/2011/7/Review/DALLAS__Rigoletto.html
Washing National Opera Le Nozze di Figaro
There are no gimmicky bells or whistles here, no libretto jazzed up with contemporary references -- there is simply director Harry Silverstein's obvious commitment to acting that is as accomplished as the singing. And, with an ensemble as talented as this one, it is like seeing Figaro for the first time -- fresh, funny and sparkling with wit. Add Mozart's score -- beautiful, like a complex mathematical equation we all intuitively get -- and the experience is sheer magic.
http://www.metroweekly.com/arts_entertainment/opera.php?ak=5138
Nozze Also in Opera News
Never underestimate the potential power of a traditional staging. Washington National Opera played it straight with Le Nozze di Figaro yet made it all seem remarkably fresh. Fluently directed by Harry Silverstein and designed by Carl Friedrich Oberle (originally for Houston Grand Opera) in a monochromatic color scheme that somehow avoided dullness, the production had an overriding elegance of structure and vitality of execution. The laughs came easily; the humanity behind the comedy emerged in telling fashion. On April 24 at the Kennedy Center, the cast gave a tight, sparkling performance, a genuine ensemble effort. Vocally, the performance was not necessarily one for the record books, but the singing nonetheless offered abundant character (several arias were judiciously and deliciously embellished), and the acting revealed consistent skill.
http://www.operanews.com/operanews/templates/content.aspx?id=16667
Houston Grand Opera Don Giovanni Opera News
Under his guidance, the energetic and polished young cast emphasized the dramatic motivation of their characters, making each understandable and sympathetic.
http://www.operanews.com/operanews/templates/content.aspx?id=3998
THE GOOD SOLDIER SCHWEIK
20th anniversary revival of the Kurka opera in a terrific new production by DePaul University opera director Harry Silverstein. Think of a manic hybrid between "Mahagonny," "Wozzeck" and "Catch 22," as staged by the Marx Brothers—that's "Schweik." It is brilliant music theater, packed with nonstop energy and lacerating wit...
Silverstein's fluid and inventive staging makes plain the show's Brechtian antecedents... I loved the three wacko psychiatrists in their straitjacket coats as much as I adored the placard-bearing nurses in their sexy chambermaid corsets, not to mention the powerful chorus of dying soldiers at the end of the opera. By John von Rhein, Chicago Tribune
Rigoletto San Francicso Opera
"Simple but inspired" Steven Winn San Francisco Chronicle
Don Giovanni Houston Grand Opera
"Richly revived by Silverstein, who inherited the Jarvefelt productions, again drew out rich characterizations from the cast. Every gesture had meaning but each meaning was carefully folded into the much larger flow." by Charles Ward Houston Chronicle
King World premiere at Canterbury Cathedral
"Staged simply but atmospherically by Harry Silverstein in the soaring nave of Canterbury Cathedral" By Richard Morrison London Times
"On a plain stage behind the small orchestra, Harry Silverstein directed with clarity and an intense focus on projecting inner turmoil." Robert Maycock The Independent
"The direction by Harry Silverstein had moments of brilliance" Robert Hugill
The Marriages Between Zones 3, 4 and 5'
DePaul Opera's director Harry Silverstein, afrequent Glass collaborator, once again showed that he is one of the city's finestopera directors, with a special knack for weaving the apparently fragmented into aseamless whole.
By Andrew Patner Chicago Sun-TimesJune 11, 2001
Houston Grand Opera Figaro
"Harry Silverstein's sharp-edged direction ensured that Friday's opening-night audience would see the modernity of the Count's situation." By CHARLES WARD Houston Chronicle
Director Harry Silverstein stages Mozart operas worldwide and his intricate comprehension of the composer is apparent. The surprise here is, even though you’ve seen the gag before and you know it’s about to happen, Silverstein and this cast can still make you chuckle. Houston Voice Online
Utah Opera Cosi
Director Harry Silverstein strikes a smart balance between comedy and drama and makes expert use of the Utah Symphony Chorus. One of his most clever choices is to let Benedetti and Chavez decide each night which suitors the sisters will choose. Finding out who ends up with whom is the last of many delightful payoffs in "Cosi fan tutte."
Opera Pacific Figaro
For Opera Pacific’s new production, director Harry Silverstein has focused on the fact that both Beaumarchais and da Ponte chose to make their points with humor. By trusting in this, Silverstein has reclaimed Nozze as a delightfully nimble comedy that makes the libretto’s trenchant observations about class struggle with a guffaw rather than a grimace. In truth, this production elicits more true laughter than any in my experience. By Michael Van Duzer
"Stage director Harry Silverstein found every comic note, every bit of business in a busy, precisely timed opera. His singers were wonderful actors as well, and they were getting laughs as well as applause."
"..on target comedic direction by Harry Silverstein." L.A. Times
Also here
Houston Grand opera Cosi Fan Tutte
The six lead performers, under the deft direction of Harry Silverstein, added their astute comic timing to a production that fully realized the potential...
By Cynthia Greenwood, Houston Press
Opera Delaware TONKIN
“OperaDelaware undertook this ambitious premiere, presenting it in a stripped down, propulsive production by Harry Silverstein (seen Dec. 4), conducted with authority by David Lawton.”
Patrick J. Smith, Opera News