Katrina Holden-Buckley

Katrina Holden-Buckley
editor - Theatre and Opera

Native New Englander Katrina Holden is a lyric soprano with a Masters from The New England Conservatory in Vocal Performance and an undergraduate degree in Music and English from Muhlenberg College.  She has appeared with Boston Lyric Opera, Odyssey Opera, MetroWest Opera, and Connecticut Lyric Opera, as well as in concert throughout the country and in both Austria and Italy.  A resident of Boston and active member of the Boston arts scene for more than 10 years, she has written for Boston Singers’ Resource covering the Opera America Conference and has been published in Classical Singer Magazine.

The Problem Of The Unmarried Woman In “Old, New, Borrowed, Blue”

Metrowest Opera had a full audience in the BCA’s smaller space on Saturday evening for their double act of Miss Havisham’s Wedding Night, and The Beautiful Bridegroom, which they titled Old, New, Borrowed, Blue. Though seemingly disparate pieces thematically and certainly musically, the two pieces worked with the thread of the “unmarried woman” in each and certainly both pieces, written in the 20th and 21st centuries respectively, contain borrowed source material. After the voyeuristic feeling and emotional intensity of Argento’s musically avant-garde Miss Havisham, Dan Shore’s more tonal and comedic Bridegroom was like a lovely dessert with which to...

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Socialist Morality in “The Threepenny Opera”

On Friday, March 23rd, Boston Lyric Opera continued its run of The Threepenny Opera to a sold-out audience at the Huntington Avenue Theatre, another of new venue in a time of flux for the company as they seek a permanent home.  Kurt Weill and Bertolt Brecht’s 1930’s adaptation of John Gay’s The Beggars’ Opera imposed a Socialist moral on an essentially nihilist piece of unrepentant characters as Weill and Brecht had become increasingly interested in a Communist solution to the political strife of 1930’s Germany.  Much like different revisions of Bernstein’s Candide, directors are faced with several editions and...

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“As One” – A New Biographical Opera About Transgender Experience Premiers in Boston

Saturday night at Longy School of Music’s Pickman Hall, As One had its Boston Premiere in the skilled hands of Boston Opera Collaborative.  As One, an insightful, 80-minute journey based on the life of a real transgender woman, will likely continue being produced by similar companies not only because of its topical nature, but because it requires minimal production values; only two singers, a string quartet, and projections. The audience never knows Hannah’s childhood name.  The characters are simply “Hannah Before” and “Hannah After.”  Instead of a split show, with the baritone singing the first half and the mezzo soprano...

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“Brodsky/Baryshnikov” – Poetry in Motion

The choreography itself spun through a range of subtle to more bombastic, creating a dramatic arc for the 90-minute piece. Baryshnikov’s commitment to using the whole body is unflinching. Whether it was part of the opening movement, when a chair balanced against his back served as the hint to the centaur referenced in a poem, or the use of his fluttering arms as a butterfly metaphor, his conviction in thought and body is mesmerizing. The illustrative nature of the metaphors manages not to be redundant or heavy-handed.

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The Fate of Women in “La Femme Bohème”

While most scholars addressing issues of feminism in opera focus on the fate of women in opera plots, Boston-based MetroWest Opera has been addressing another issue since its inception, and is now doing so more overtly with La Femme bohème; an all-female version of the original first performed in Austin, Texas. The company has long strived to produce operas that feature parity in male and female roles, but has mostly run out of this repertoire. Part of this commitment to parity is that the audition lists are overly saturated with female talent. Just as Hollywood is being confronted in...

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Boston Lyric Opera’s “The Marriage of Figaro

Boston Lyric Opera’s The Marriage of Figaro opened on Friday to an audience that the John Hancock Hall’s lobby could barely contain and filter into the theatre.  This closes out the first season in many years in which the company has not renewed its contract at the Shubert Theatre, and this is the third new venue for its main stage production this season.  BLO is not only trying out new venues, but also rallying for a true house devoted to opera for the city.   Le Nozze di Figaro has not seen a revival since their 2006/2007 season, though Mozart is...

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