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    The Review Is In

    HGO's crowd-pleasing The Little Prince conjures up magical sense of the fantastic

    Theodore Bale
    Dec 5, 2015 | 2:06 pm

    You might never have heard of British composer Rachel Portman, but chances are you know at least some of her sophisticated film scores. Portman composed the soundtracks for Chocolat and Cider House Rules, among many other notable films, and also the charming music for Benny and Joon, my favorite "guilty-pleasure" Johnny Depp movie.

    Her 1996 score for Emma made her the first woman to win an Academy Award for Best Original Musical Score. She is enormously talented, and I would be thrilled if she would write even a few more operas.

    In 2003, Houston Grand Opera has great foresight when it commissioned and premiered her version of The Little Prince.

    HGO has a huge hit with this revival, an opera that seems at first to be an entertainment for children. Like Antoine de Saint-Exupery's famous story, however, it is deceptive, revealing its complications from the very first scene. This is not to say that children don't like complicated work. Rather it is to affirm that The Little Prince functions like all great fairy tales, vivid and enticing to children and still rich with symbolism and philosophical rumination for adults.

    Festive feel

    Somehow, it seems to fit in perfectly with the Christmas season, though I cannot say why. There aren't any Christmas scenes in the opera, but the general sense of the fantastic makes it kind of a gift to children and adults. It has a festive feel, so I place Portman's opera with classics like Ravel and Colette's L'enfant et les sortileges, which they subtitled "a lyric fantasy in two parts; "Humperdinck's Hansel and Gretel, and of course Stravinsky's The Nightingale, among many others.

    There are a few conditions that make this opera singular, however, and they could complicate the matter of a successful staging. The powerful presence of a children's choir under the direction of Karen Reeves is wonderfully refreshing and dynamic. The chorus begins the opera and continues as a kind of coordinating element throughout the two acts. It is the only chorus in this opera, not just an appendage of an adult choir.

    Secondly, the lead role in this work is for a boy soprano, sung capably on opening night by Andy Jones. Where many operas center on heroic conquest, or what can sometimes descend into unrelenting assertion, this one manifests a kind of delicate vulnerability. It requires a confident yet light touch, and HGO has it just right.

    On opening night, conductor Bradley Moore did a stunning job keeping everything together, the orchestra in perfect balance with the singers. Jones' singing is amplified, which is disorienting at first, but soon settles in to the point that you forget about it.

    Rhyming libretto

    If there is anything that bothers me about this piece, it might be Nicholas Wright's mostly rhyming libretto. The best scenes are those in which the language is minimal, or hardly even there. For example, in the second act four grossly distorted hunters waddle on stage, single file, wearing ridiculous and exaggerated safari clothes. They stop, face the audience, and sing "we are hunting a fox."

    It is hilarious in its obviousness, a kind of great vaudeville moment, and we don't need a rhyme to finish (or rather, interfere with) the idea. In other parts of the opera, when Wright struggles for a suitable rhyme, he doesn't always find it. It is the only shortcoming in an otherwise greatly successful work.

    Canadian baritone Joshua Hopkins is well-known to HGO audiences, and he makes a stunning impression as The Pilot. "Grown-ups never understand anything by themselves and it is rather tedious for children to have to explain things to them time and again," the Prince says early on in the story.

    Portman has kept the adults and the children quite distinct in this opera, when it would have been tempting to integrate them through too many duets and ensemble work. She knew the adults would dominate that situation. Hopkins' voice is always bright, powerful, somewhat reassuring, in contrast to Jones' waif-like Prince.

    There is also something about Hopkins' gentle stance, whenever he is on stage with the Prince, that makes him wonderfully appealing. Particularly poignant is the scene where he carries the sleeping Prince downstage, noticing this his frail body is "more like a shell."

    Great singers

    With so many of the adult roles brief and eccentric, it can be easy to forget just how many great singers appear in this production. I was particularly taken with mezzo-soprano Sofia Selowsky's interpretation of The Fox, a part that requires her to slink about in a red velvet costume. She manages it with great sophistication, and her scene with the Prince was definitely the high point of the second act.

    John Kapusta is a terrifying Snake and a desperate Vain Man, making his HGO debut in these peculiar roles. Samuel Schulz's soaring baritone makes for a compelling Business man, and Argentinean bass-baritone Federico de Michelis is a great comic King, something straight out of Lewis Carroll. Pureum Jo is a rather garish Rose; she seems to be pushing her voice a bit, the same problem she had as Becca in HGO's recent premiere of O Columbia.

    Something that made me sit up and marvel was D'Ana Lombard's performance as, and I am not kidding you here, Water. It was so unexpected. She appears out of a small door in the latter part of the second act, in a silver mylar flowing wig, and she is a kind of revelation. Of course, Portman wrote for this role a brilliant and brief aria. Lombard made the most out of it, however, recalling Debussy's Melisande, or perhaps a fourth, more reticent and benevolent Rhinemaiden. I am going to watch out for her in upcoming productions.

    The late costume and set designer Maria Bjornson is as important to The Little Prince as is Portman. It is unfortunate that she met her demise just before the 2003 world premiere. The Little Prince is both a visual and an auditory work, and it would be impossible to imagine the production without her baobab trees, her flying cranes, her strangely cozy desert.

    Take your children, but remember that this opera is just as much for you.

    The Little Prince functions like all great fairy tales, vivid and enticing to children and still rich with symbolism and philosophical rumination for adults.

    Houston Grand Opera The Little Prince
    Photo by Lynn Lane
    The Little Prince functions like all great fairy tales, vivid and enticing to children and still rich with symbolism and philosophical rumination for adults.
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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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