Austin Opera continues to be an outstanding asset to Austin. The number of children in the audience at the opening performance of Carmen was astonishing; even more astonishing is that they stayed to the end and were not restless. These were elementary-school students. Perhaps they were in attendance to see and hear siblings perform in the children’s chorus, which was excellent, as was the large adult chorus.

The orchestra grows better and better and better. Under the baton of Richard Buckley, it rendered true justice to the beautiful score.

The principal singers embodied their characters well, and they sang exceptionally, solo and with other members of the cast. Austin Opera is especially fortunate to have such strong singers in the roles of Don Jose and Escamillo. It sometimes seems that the male members of a cast do not rise to the level of the female singers, but such is not at all the case in this production.

Set in Spain, the four-act opera by Georges Bizet is sung in French. Above the stage, there are supertitles in English. The translation is good and the coordination of the titles with the action on stage was always precise.

Although there was perhaps an element of almost silent-screen action in the last act, with somewhat overwrought physical action and dramatic movement, the direction of the large cast was otherwise supremely managed throughout, taking every advantage of the versatile and handsome set.

In some performance of this work, professional dancers take the stage in certain scenes, in this one the singers appeared to execute the inventive choreography themselves, and very well.

On line there’s a synopsis of the plot. Those who do not know the opera should ignore it and be drawn in by the momentum of the unfolding action.

Acts I and II last 90 minutes. A 25-minute admission is followed by acts III and IV, running 60 minutes, so that the total performance time is about three hours.

Advance tickets are available for the remaining shows: 7:30 PM, Thursday, November 16; and 2:30 PM, Sunday, November 19.

Performances are at the Long Center for the Performing Arts, 701 West Riverside Drive. Early arrival allows enjoyment of the scenic terrace looking toward downtown.

Be warned: parking at One Texas Center that was once free, with designated spaces for Car2Go vehicles, is now behind a barrier and costs $5; a credit card must be used. Opera-goers did not know how to get in to the lot (there are bollards and drop barriers), and they did not know how to exit.

The parking annoyance, however, is no reason at all to miss this memorable production of Carmen.

Ann Richards School for Young Women Leaders passed by in review, a nearby tourist said, in apparent amazement, “Look! They’re all girls!” And so they were. And they were wonderful, and so were the marchers from Del Valle, as always.

It was a fine day, and the Austin Veterans’ Day parade was splendid.

There had been murmurings of controversy over what flags or banners might be displayed. The mayor did not seem to be in evidence; nor did there seem to be any display of the types of flags or banners that had inspired discussion.

View some visual souvenirs in the form of still Veterans’ Day parade, Austin, 2017 and videos. Many were the poppies; many were the Stars and Stripes. Happy were the faces.

The Pirates of Penzance brings you all these, and more, thanks to the Gilbert & Sullivan Society of Austin.

Look forward to an accomplished chorus, an expert 19-piece orchestra, and vocal music of distinguished quality from each of the lead and featured singers. Every comedic bit is carried out so well that it elicits outright laughter from the entranced audience.

If you don’t know the story, it won’t be spoiled for you here. Just remember, though, that “pilot” and “pirate” can sound very much alike. Thanks to the wonderful acoustics of the venue and also to the assistance of the supertitles above the stage (to aid in understanding when the tempo is breakneck), there’s not the least difficulty in hearing all and following every little twist and turn of the plot (there is one and it’s complicated).

The Father’s Day Sunday performance was attended by many, many children, who sat rapt and thoroughly engaged. Not one family departed during the intermission; all remained for the entire performance, which is quite a testimonial to the delight afforded to all ages.

In the Worley Barton Theater every seat is a good seat; there are no bad ones. Every seat enjoys an excellent view. Every member of the audience hears every note well, enjoying to the fullest not only the clever comic songs, but the rousing pieces and the sweetly sentimental numbers as well. This production is theater at its finest and music so wonderful that a person listening only and not seeing a bit of the spectacle would nonetheless be privileged beyond compare.

There’s a lively printed program. The cast bios are most entertaining, and so are the candid images of cast rehearsals.

The house was full. All advance tickets appeared to have been sold, and additional seats were brought in for those who arrived planning to buy tickets at the door.

Five performances remain. You owe it to yourself to attend at least one. You will smile, you will laugh, you will be thoroughly happy during the show, and for many, many days afterward.

If you miss the Austin Opera production of Don Giovanni (the May 3 Sunday matinee at 3 pm is the last live performance, with a KMFA live broadcast Don Giovanni beginning at the same time), you’ll miss a highlight of 2015 music and theater in Austin.

The music is always a delight to hear whether or not the opera is staged in such a fashion as to awake emotions and promote deep engagement with the plot. So many times, for example, Donna Elvira is almost a figure of ridicule; not so in this staging. The entire cast sings beautifully, alone and with other members; the sets and lighting are evocative and speedily set up for each succeeding scene so that no virtually no time is expended in waiting and so that the momentum never flags. All stage business is inventive, but never to the extent that outpourings of song are hindered. The singers are not just vocally agile; they are physically agile, to the extent that they appear able to enjoy second careers as acrobats and dancers. It would be unfair to single out any individual member of the cast for particular distinction: everyone sounded wonderful, as did the orchestra and chorus.

The Friday night audience was attentive from beginning to end; no departures were observed during the sole, brief intermission; enthusiastic applause lasted and lasted. Check on line for available remaining tickets for Don Giovanni (as low as $15 and there are no bad seats), and don’t forget the live broadcast. What a triumph!

Circo Hermanos Vazquez+ is smartly paced and choreographed and very beautiful as a spectacle. The costumes are not extravagant, but they are fresh and very becoming to the artists, who are of the first class. The band is live. The clowns are laugh-out-loud funny.

Circo Hermanos Vazquez is set up at Highland Mall through this coming Sunday, April 12, when there will be shows at 2, 5, and 8 pm. Monday through Thursday weekday shows are at 7:30 pm. On Friday and Saturday, the shows begin at 6 and at 9 pm. Tickets may be purchased on line; the box office is open every day beginning at 10 am. Discount coupons admitting a child under 10 accompanied by an adult with a paid-for ticket are to be found around town; there was a plentiful supply at Chango’s on the Drag. Doors open a half hour before the spectacle begins.

The popcorn (palomitas) was fresh; the beverage was Coca-Cola. Opportunities for souvenir photographs with the members of the circus are numerous.

Photographs and unedited videos give only the merest notion of what a very fine show this is, definitely a treat for all ages.

This production of H.M.S. Pinafore captivates. The orchestra’s bigger and brighter than ever (19 members counted), and so’s the chorus (28 members counted). Both the men and the women of the chorus excel, and for once the men get to dance more than the women. The orchestra is bold and bright, a true pleasure to hear.

Austin favorites Holton Johnson, Russell Gregory, Janette Jones, and David Fontenot reprised starring roles to great applause; Gil Zilkha as the captain and Carol Brown as Josephine, his daughter, shone. We attended the Sunday matinee that was preceded by a one-hour program for young people. H.M.S. Pinafore held the attention of children for the entire performance. There was no difficulty at all in understanding the snappy lyrics, so clearly sung, but there are supertitles above the stage for anyone who may find them to be a helpful supplement to the performance.

This show is crammed with songs that are not to be forgotten. Most are jaunty and funny; some are a bit more serious and are treated so (for example, “Refrain, audacious tar”). Pinafore will make happy people happier and will brighten the darkest day.

Remaining performances are: Thursday, June 19, 7:30 pm; Friday, June 20, 7:30 pm; Saturday, June 21, 2 pm and 7:30 pm; and Sunday, June 22, 2 pm. All seats are reserved; tickets may be purchased on line for pick-up at the theater (Brentwood Chistian School, 11908 North Lamar).

Thank you, Gilbert & Sullivan Society of Austin!

Circo Hermanos Vazquez is back in town, set up in the Highland Mall parking lot, and it truly is “better than ever,” which is saying something!

The seats in the capacious and sturdy big top are more comfortable than ever. No bad seats are to be found. There’s an eight-person live band again this year to accompany the acts, and the volume is not too loud for anyone, including all the infants, toddlers, and older children at the show attended. There are porta-privies available as there are at most events in Austin, and there are also sinks with soap for hand-washing inside the tent near the food-service area. The lighting seems to be entirely LED and provides excellent illumination. The audience is allowed to take still pictures and videos, so long as no flash is used.

The artists without exception were most entertaining and the acts were smartly paced and well done. They included funny dogs, a beautiful liberty act with white and dark Arabian horses, Russian swing, balance performances, an ingenious act featuring diabolos or Chinese yo-yos, aerial shows, two outstanding clown acts, and more. We were spared the cliches of the “wheel of death” and the “motorcycle globe of death.”

There’s a fifteen-minute intermission, during which attendees may have their pictures taken with the beautiful dog-act lady and some of the featured canines, with the result printed on the spot. Following the circus, there were two other photo opportunities, with the clowns and with the beautiful dancing girls.

Remaining shows are tonight (Wednesday) and tomorrow (Thursday) at 7:30 pm, plus Friday and Saturday at 6 pm and 9 pm, with the last performances on Sunday, April 13, at 2 pm, 5 pm, and 8 pm.

Prices are: adult general admission, $40.00; adult senior general admission, $35.00; children’s admission, $15; so-called “better seats” for adults, $50.00, and for senior adults, $45.00; with “VIP” adult seats going for $60.00. Radio 107.7-fm is stationed at Highland to give away free promotional items.

There’s no need at all to know any Spanish to enjoy this Circo Hermanos Vazquez. Safety announcements are made in English for those who need it; after that, words are completely unnecessary. See a few pix and unedited videos; go to the circus!

The box office is open every day from 10 am to 9 pm; tickets are also sold at Fiesta Mart.

It was foggy and damp for today’s parade, but there was music for everyone: the Eastside Memorial band, the LBJ High School band, and a contingent from the 36th Infantry Division band of the Army National Guard complete with banjo and instrumentalists who sang. The Air Force J.R.O.T.C. from Del Valle was there; so were Shriners and a group of Vietnam veterans. There were no political candidates. The day was damp and overcast; spirits were bright. Search this site for recollections of other Texas Independence Day parades. See photographs and unedited videos and look for people you know.

Here for our enjoyment is a lush sonic treat in every respect, and a visual feast as well, with a fine orchestra, a lively chorus, and a uniformly excellent cast of singers in the leading roles, plus a production that fills the stage: Austin Lyric Opera has outdone itself with the current production of Verdi’s Don Carlo.

Don Carlo was staged as one of the musical events inaugurating the Performing Arts Center on the UT campus, but has not been performed here since.

At the Long Center on Friday, the temperature became chillier as the evening went on, so it’s best to dress for all conditions. Another reason to dress for comfort is that the performance lasts for three and one-half hours.

Tickets are still available for the two remaining performances (Thursday, November 21, at 7:30 pm; and Sunday, November 24, at 3 pm).

Anyone not able to attend in person may hear a live broadcast via KMFA 89.5-fm radio, beginning at 2:50 pm on Sunday, November 24.

This ambitious undertaking is also a strongly successful one and should not be missed! Anyone who loves music and theater is in for a great treat.

Don’t miss this musical and stage delight. Just five performances remain for the the Austin Gilbert & Sullivan Society production of Princess Ida: Thursday, 20 June, 7:30 pm; Friday, 21 June, 7:30 pm; Saturday, 22 June, 2 pm; Saturday 22 June, 7:30 pm; and Sunday, 23 June, 2 pm. All performances are supertitled. The venue is the lovely theater at Brentwood Christian School, 11908 North Lamar (see map).

Principal singers, orchestra, and chorus have never sounded better. Princess Ida serves up vivid characterizations and laugh-out-loud comedy. This is a three-act production. We attended the children’s matinee and, even though the show is a bit longer than usual, it held the attention of all ages from start to finish.

We are so fortunate to be able to enjoy a production of such wonderful quality, a theatrical pleasure in every way: music, acting, dancing, and wonderful stagecraft of all kinds. There are no bad seats and there are supertitles to assist the audience in following the rapid patter of many of the songs. These are far better coordinated with action on the stage than, say, those at the Austin Lyric Opera, where people sometimes laugh at a comedic action that hasn’t yet been sung or acted.

Princess Ida is obviously a labor of love, and the audience did love it. So will you.