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    The Review Is In

    Houston Grand Opera delivers a magical evening with a rare staging of Dvorak's Rusalka

    Theodore Bale
    Jan 31, 2016 | 9:40 am

    There is a saying in Tibetan Buddhism that it is better to conquer one desire than to satisfy a thousand others. This seems to be the central message of an operatic masterpiece that rarely makes it to American opera houses.

    Billed as "A Lyric Fairy Tale in Three Acts," Antonin Dvorak's haunting Rusalka is back at Houston Grand Opera after a 24-year hiatus. It is no small feat to gather a cast and chorus to sing this lengthy work, in Czech no less.

    If you want to know how the work became a mainstay in Prague, or whether or not Rusalka conquers that one important desire, you really should not miss HGO's wildly imaginative staging. It is one of those works that serves as kind of portal into another branch of the operatic repertory. There is no mistaking its greatness within the first scenes, and it is never boring.

    Deep betrayal

    At the opening night performance, I couldn't help but notice how much Rusalka takes a number of romantic and classical ballets as precedent. The central character, a ruminating water nymph, faces a dilemma not unlike that of Swan Lake's Odette, Ondine in Sir Frederick Ashton's ballet of the same name, and of course Giselle, the peasant girl who transforms into a Willi after dancing herself to death.

    All of these characters are summoned to compassion after some level of deep betrayal. The men they love are mostly thoughtless, selfish jerks, players of the worst kind. Along the way there are witches, spells, ghosts, and some kind of unresolved existential conflict between mortals and creatures. I am grateful now to add Rusalka to my list of favorite ill-fated romantic heroines, in both operas and ballets.

    Dvorak has also used certain musical conventions from ballet, such as announcing Rusalka's appearance on stage with a harp solo, just as Tchaikovsky and composers before him "announced" their prima ballerinas with the harp. Harpist Joan Eidman should be mentioned for her unforgettable, pristine playing on opening night; she is a treasure among some very great musicians.

    A rousing ball in the opera's second act continues for some time without any singing, and the brass melodies seem to echo Sleeping Beauty. This is not to suggest that Dvorak was unoriginal. On the contrary, Rusalka seems in a class of its own, even if you can trace aspects of Debussy and Wagner throughout.

    Musically it seems to foreshadow some of Richard Strauss as well. The opera is best thought of, perhaps, in the context of the other great magical operas: Weber's Der Freischutz, Strauss' Die Frau ohne Schatten, Debussy's Pelleas and Melisande, Humperdinck's Hansel und Gretel, and others.

    Extraordinary impression

    At least one of the cast members from HGO's 1991-2 season staging, which featured Renee Fleming in the title role, is back for this vivid production. Baritone Richard Paul Fink makes an extraordinary impression as Rusalka's father, Vodnik.

    There is something brazenly heroic about his interpretation. From the very opening of the first act, he approached the part with wild abandon, and it is not difficult to imagine him as Das Rheingold's​ Alberich, a role for which he is well known. Dressed in a kind of ivory unitard, he was entirely the "toady man" he is called for in the libretto, though I think he looked more like a frog's underbelly. Unforgettable.

    In the title role, Ana Maria Martinez is at once vulnerable and defiant. She was in excellent voice on opening night, delivering a number of show-stopping, deeply emotive arias. Watching her float through a series of dramatic gestures as an enormous fish (with the help of several talented stage assistants)before she transformed into a mortal struggling to walk in a pair of red platform shoes, was both weird and mesmerizing.

    I admire her for making something more of this role than mere sentimentality. By the third act, she was simply devastating, and vocally she never wavered.

    Stunning debut

    She was well-paired with Brian Jagde, an American tenor making his HGO debut as The Prince. This is perhaps the most stunning HGO debut I've witnessed this year. Jagde has a big, big voice, well-controlled, and it's safe to say that no orchestra will ever drown him out. A striking actor, he looks the part of an archetypal prince.

    The rest of the cast is also entirely top notch. Jill Grove is a terrifying Jezibaba, the witch who transforms Rusalka into a mortal. Aside from her thrillingly confident voice, she has a commanding deportment. The character is both comic and scary, she carries it off with sophistication. German soprano Maida Hundeling is a thrilling Foreign Princess, the one who seizes her former lover when Rusalka is doomed to silence. She isn't conquering one desire, she's pursuing the thousand others, clearly.

    This Rusalka is also a great opportunity to enjoy the charms of the wonderful HGO chorus, particularly in the second act ball scene, where couples promenade downstage in a series of bizarre and colorful evening wear outfits. It is as if a kaleidoscope of psychedelic ornaments is rolling off some hidden Christmas tree.

    There is nothing particularly experimental about Melly Still's production, even if Rae Smith's sets and costumes lean towards the vividly artificial. It's a fairy tale, and it looks like one. The blocking is often dancerly, mostly in a very good way, thanks to movement director Rick Nodine and Ballet Master and Dance Captain Christian From. Harry Bicket is a suave conductor, you can see this quality in his audience acknowledgements alone. The orchestra players garnered that kind of energy from his presence and played with great finesse.

    --------------

    Rusalka continues through February 12. For more information, visit the Houston Grand Opera website.

    Anna Maria Martinez and the Houston Grand Opera Chorus in Rusalka.

    Anna Maria Martinez and Houston Grand Opera chorus in Rusalka
    Photo by Lynn Lane
    Anna Maria Martinez and the Houston Grand Opera Chorus in Rusalka.
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    Best May Art

    MFAH's blockbuster modern art exhibit and 7 more openings in Houston this month

    Tarra Gaines
    May 11, 2026 | 12:45 pm
    as Pablo Picasso, Woman in a Multicolored Hat, part of the MFAH's upcoming Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen exhibit, opening May 20
    Image courtesy MFAH
    Museum of Fine Arts, Houston presents Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen (Pablo Picasso, Woman in a Multicolored Hat, 1939, oil on canvas, Museum Berggruen, Neue Nationalgalerie, Berlin. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

    May brings some of the biggest art shows and museum exhibitions of the year to town. Some fly in with patriotic fanfare, while others give us a rare opportunity to gaze at European masterworks. Whether someone is looking for irreverent performance art at the CAMH, wants to get in touch with whimsical spirits at Moody Art Center, buy art for a good cause at Silver Street, or get ready for the World Cup at Sawyer Yards, Houston artists, galleries, and museums have a show for all tastes.

    “Freedom Plane National Tour: Documents That Forged a Nation” at Houston Museum of Natural Science (now through May 25)
    We’ll call this one the art of democracy. This exhibition 250 years in the making might not fit the usual definition of "art," but this touring presentation of Founding-era documents at HMNS has to make this month's must-see list. The National Archives and Records Administration, in partnership with the National Archives Foundation, set aloft this flying tour of some of the nation’s most historical documents, complete with their own plane. Houston is one of only eight U.S. cities where the Freedom Plane will land. The original National Archives records featured in the exhibition are traveling together for the first time. Just some of the historic documents included in the exhibition are an original engraving of the Declaration of Independence; George Washington, Alexander Hamilton, and Aaron Burr’s Oaths of Allegiance, 1778; and the Secret Printing of the Constitution in Draft Form, 1787.

    “As our nation approaches its 250th anniversary, there is no more fitting tribute than bringing these original documents, leaving the National Archives together for the very first time, directly to the American people,” says Joel Bartsch, president and CEO of HMNS. “From George Washington’s oath as a Continental Army officer to the Treaty of Paris that secured our independence, these are not replicas or reproductions. They are the genuine records, and Houston will have the rare privilege of experiencing them in person this May.”

    “20th Annual Empty Bowls” at Silver Street Studios (May 15 and 16)
    For two decades this beloved grassroots fundraising event has given art lovers the chance to pick up one of a kind, handcrafted ceramic bowl-shaped artworks for just $25 dollars each and helped to serve up millions of meals to the hungry. Over the years, Empty Bowls Houston has raised over $1.2 million for the Houston Food Bank. The lunch fundraiser is a collaboration between Houston-area ceramists, woodturners, and artists working in all media and Houston Center for Contemporary Craft. A special ticketed preview party on May 15 will feature light bites, beer and wine, live music, a pottery throw down event with local potters, and a chance to purchase a bowl early before the main event on May 16. Archway Gallery will also host its own annual Empty Bowls exhibition throughout May.

    “No Longer, Not Yet” at Art League (May 15-July 19)
    This exhibition of mixed media and fiber sculptures from Houston-based artist Marisol Valencia is the culmination of Valencia volunteering at a Houston-area shelter serving migrant women and children. To create the works in the show, Valencia uses material imbued with meaning, including fibers sourced from rural Mexican communities where migration often shapes daily life; bedsheets and pillows gathered from the shelter; and porcelain pieces inscribed with collected definitions of “home.” At the center of the exhibition will be a large cascading crochet sculpture made in collaboration with women and volunteers at the shelter.

    “Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen” at Museum of Fine Arts (May 20-September 13)
    Houston claims another first as the MFAH hosts the U.S. debut of this monumental touring exhibition of masterworks by Pablo Picasso, Paul Klee, Henri Matisse, Alberto Giacometti, and other major artists of postwar Europe. The exhibition will also tell the story of influential gallerist Heinz Berggruen and his relationship with the artists and collecting world. From the 1940s into the 1990s, Heinz Berggruen assembled a singular collection of hundreds of modern masterworks, many directly from the artists, and then in 2000, Berggruen placed the collection with the German state. The collection is now housed in the Museum Berggruen in Berlin-Charlottenburg as part of the Berlin State Museums/Foundation of Prussian Cultural Heritage.

    “It is especially rewarding to introduce our audiences to the life and legacy of Heinz Berggruen — a pioneering art dealer, publisher, and collector whom I was privileged to know and work with for more than two decades,” remarks MFAH director Gary Tinterow on bringing the exhibition to Houston.

    “Ballet of the Masses” at Sawyer Yards (May 21-July 25)
    As Houston gets ready for the World Cup, local artists score their own kind of goals with this exhibition of artful soccer balls. Over 40 Houston artists have put a unique spin on a regulation sized fútbol — turning them into sculptural pieces. Organizers will suspend the works from the ceiling of Sabine Street Studios' North Gallery to create a kind of celestial soccer constellation. Together, these works will celebrate the dynamism and joy within sports and art.

    “Never Forgotten” at Sabine Street Studios (May 21-July 25)
    This powerful exhibition comes from a unique collaboration between Texas Center for the Missing, Houston Police Department Forensic Artists, and Sabine Street Studios, all dedicated to bringing the missing home. Three local forensic artists: Thurston Johnson, Bryan Bradley, and Kristen Aloysius have created age-progression portraits of missing persons in the hopes of reuniting families. Beyond showcasing real art, “Never Forgotten” was organized to shine a light on each individual case and continue raising awareness of the missing in our community. Sabine Street Studios will also host special programming in conjunction with the show, including a workshop on forensic drawing and drawing portraits based on memories.

    “Mary Ellen Carroll: How To Talk Dirty and Influence People” at Contemporary Arts Museum (May 22-November 1)
    Acclaimed New York-based conceptual artist Mary Ellen Carroll has spent over four decades crossing disciplines of performance art, photography, architecture, writing, video making, and public art to explore issues of environmentalism, architectural and technological infrastructure, immigration, urban legislation, and identity, as well as tackling fundamental questions of the nature of art. And some of this exploration has taken place in Houston with Carroll’s continual transformation and documentation of a post-war home in the city’s Sharpstown neighborhood.

    This first major museum survey of Carroll’s work takes inspiration from legendary comic Lenny Bruce’s 1965 autobiography of the same name, and emphasizes the irreverent and honest nature of Carroll’s work. The exhibition will bring renewed focus onto some of Carroll’s larger series, for example, “prototype 180,” the Sharpstown project, and “My Death Is Pending… Because,” consisting of separate pieces like video documentation of the artist driving and destroying a 1985 Buick in a demolition derby in 2017 and video of Carroll in a polar bear suit climbing a defunct smokestack in Memphis.

    “Carroll is that unique kind of artist who continually reminds you of the power of art and artists to inspire radical change, in ourselves and the world,” notes senior curator Rebecca Matalon.

    "Shapeshifters, Sprites, and Spirits” at Rice Moody Center for the Arts (May 29 - August 15)
    Delve into a world of whimsical wonder in this new exhibition and the first Texas solo show of acclaimed Japanese artist Masako Miki’s sculptural work and installations. Influenced by diverse artistic movements from European Surrealism to Japanese manga, Miki creates sculptures from felt layered over wood armatures. Once completed, they resemble animated and large scale forms of everyday objects infused with personality and character.

    Miki’s work is also inspired by folkloric traditions, especially Shinto animism and its belief that all beings and things contain a spirit. For the site specific Moody exhibition, Miki has also created works with a focus on yōkai, supernatural entities taking the form of beings, objects, and apparitions, and particularly those that appear in the Night Parade of One Hundred Demons (Hyakki Yagyō), a legend dating to medieval Japan.

    “My characters are ordinary but have extraordinary powers,” describes Miki of her sculptures. “They are secular but are attuned to sacred traditions. As a collective, they advocate for both individual and collective agency, and the importance of stories as unifying systems in today’s complex world.”

    as Pablo Picasso, Woman in a Multicolored Hat, part of the MFAH's upcoming Picasso\u2013Klee\u2013Matisse: Masterpieces from the Museum Berggruen exhibit, opening May 20
    Image courtesy MFAH

    Museum of Fine Arts, Houston presents Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen (Pablo Picasso, Woman in a Multicolored Hat, 1939, oil on canvas, Museum Berggruen, Neue Nationalgalerie, Berlin. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

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