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New York City Opera

Porgy and Bess


The New York Post  - Shirley Fleming

The Production is grippingly physical, the two killings onstage occur with the kind of stomach-punching violence more typical of - Hollywood……….


The New York Times  - Bernard Holland

………Ensembles become elaborate dance numbers, they look fine - as do the vivid fight scenes - Bruce-Michael Gelbert

Fatal fight scenes, between Crown and Robbins and then Crown and Porgy, devised by Rod Kinter; brushes with the brutal, Caucasian pillars of the law; and Bess' return to drugs, after she'd been clean, are painfully realistic here.


Il Donna de Lago


The Wall Street Journal   - Heidi Waleson

…. one bright moment was the trio in which Rodrigo and Uberto fight (with swords) and Elena tries to stop them. Fight director Rod Kinter actually got some action going onstage, the singers began relating to each other, and the music had some zip. This was exciting.


Dead Man Walking


The New York Observer - Charles Michener 

The opening is stunning. After an eerily woven overture, the crime is enacted in a lakeside lovers’ lane in Louisiana. As the teenage lovers make out-both nude, with the sort of perfectly toned bodies that are de rigueur onstage these days-cryptic bursts of percussion announce the two killers’ entry from the shadows. Orchestral pandemonium ensues as one brother rapes the girl and the other shoots the boy. The girl screams; the rapist silences her with a knife. The next thing we hear is the sweet voice of Sister Helen…..


Cavallieria Rusticana and Pagliacci


Superconductor - Paul Pelkonen

….The two did not shy from the physical aspects of playing the feuding ex-lovers--their chemistry and kinetic fight choreography enhanced Mascagni's music and practically leapt off the stage. 


Manhatten School of Music

The Ghosts of Versailles 

Voce di meche - Meche Kroop

Some special moments stood out: ……. an amusing duel (choreographed by Rod Kinter) between ghosts who realize they can't  die  


New Jersey State Opera


The Star Ledger - Willa J Conrad  

The Final Fight scene choreographed by Rod Kinter, looked rather convincing, and that was no small accomplishment.

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