Portland Opera puts on professional and mesmerizing performances. I was super impressed with the…read moretalent, staging and overall experience. A friend of mine has had season tickets for years and I've been lucky to attend several performances as her guest. Many are intimidated by Opera but once you are in your seat and the performance starts, it's amazing how easily you become mesmerized and absorbed in the story. The artistry is superb.

I am a total opera noob. No reason to pretend otherwise. Having wanted to attend for decades, I…read morehave finally and recently been to two operas, the second one with my children because my ten year old was jealous of my first operatic adventure. He NEEDED to get dressed up for the opera. There was a top hat involved, it was Glorious. The productions are beautiful, the cast is top talent, the sets and costumes are fun and delightful in both color and composition, the accompanying symphony is fun and excellently conducted, and the visionary interpretation of classics that comes across the stage has twice now made me look forward to putting opera in my budget. I don't know if it's the norm for productions, but the fact that there are basic sub titles has made this accessible for anyone wanting to dip their toes in the artistic waters. Including my kids (who are old enough to sit through an opera to be fair). The attitude of the people attending is a celebration of variety. The casual to the epically dressed, it is welcoming and joyful. The extra informational talks don't hurt my feelings when wanting to understand the artistry behind the origin of the work, and it's a no pressure, high entertainment process. I love that they have seats you can return to now if you have to step out so you don't miss the show until you can get back to your spot at the appropriate time. They really do try to accommodate all ages, sensory issues, and interests. They are bringing opera to the people, and the people love it.

Arlene Schnitzer Concert Hall is a beautiful, historic venue right in the heart of downtown…read morePortland. The architecture is stunning, the acoustics are excellent, and the overall atmosphere makes any performance feel special. Staff are professional and the experience is well run from start to finish. A true Portland gem and one of the best places in the city to catch live music or performing arts.

Love the beauty of the concert hall and all the performances, conversations, etc. that it brings…read more It did not feel very accessible for persons with physical disabilities. When I need to use the restroom, I was directed towards lots of stairs. The seats in the concert hall were very low. It felt like I was dropping down into the seats. Loved that they had autographed copies of books available.

I flew in to see Phantom with my daughter. It was my first time here and was assigned parking about…read morea 20 mins walk. I didn't know there were parking right across the street! It was a little intimidating walking in the dark by ourselves. But at least I now know there are parking closer to the Keller Auditorium for the next time. We got to the door about 10 minutes before curtain call. I was surprised that the line moved quick and with ease. Once we got in, we decided to stop by the souvenir shop after the show and opted to use the restroom on the left side. There was a line of 9 people ahead of us. We stood in line only to find out that it was ONE stall. That explained the long wait. Wish the ushers or staff let people know that there was a ladies lounge on the other side with more stalls. All I heard was that there's restrooms upstairs but it's the same. My impression was that this venue was not equipped for a big crowd. It wasn't a humongous venue and it looked like all or most seats has a good view. We sat on the left side, 7 rows back on the aisle. I think those seats was perfect because we were close to the stage but still far enough back so we can absorb everything. My chair was comfortable and was roomy. I think the lady behind me wasn't too comfortable. She was kinda tall and kept bumping her knees on the back of my seat. My suggestion to taller people, try to get the end seats. That way you can kinda stretch out a little and not be uncomfortable during the show.

Dear Keller Auditorium of Portland, Oregon…read more I write to you not as a stranger, but as someone who has known your seats from the sticky shoes of childhood field trips all the way to a recent Christmas night where the whole place felt like it was vibrating with life. You have history stitched into your walls. You first opened your doors back in the early twentieth century when Portland was still shaping itself into the city it is today. You have been rebuilt and renewed after fire and time did their work, and now you stand proudly as part of the city's performing arts heart, hosting everything from Broadway productions to symphonies that make grown adults forget what day it is. They say you can hold close to three thousand souls at once, and on the right night it feels like every single one of them is breathing in rhythm with the stage. I have been inside you many times over the years, starting as a kid on school field trips where everything felt massive and important, even the carpet. Then more recently, this past Christmas, I walked back through your doors and you were absolutely packed out. People everywhere. The kind of crowd where you start wondering if you should have trained for this like an endurance sport. The smell of roasted peanuts hit me like a memory I did not know I had. I grabbed some and immediately decided life should include more roasted peanuts in general. I also picked up a Christmas ornament that honestly felt like it belonged in a museum of personal victories. Somewhere in the shuffle, someone dropped something near the aisle and in true holiday spirit, it turned into a whole moment. A man slipped just slightly, kicked a can of peanuts into the air like it was part of the choreography, and suddenly the whole section was laughing like we were all in on the joke together. It was beautiful chaos. Parking, I will say with love, is its own kind of performance art. Tight, competitive, and requiring a bit of strategy. Worth it, but you earn your seat before you even reach it. Inside, the orchestra was absolutely on point. Clean, powerful, and precise in a way that makes you remember how much discipline lives behind every note. I will admit something honestly. It was a little warm in there. Not uncomfortable, just enough to make you lean back and surrender a bit. At one point the music was so good and so steady that I drifted off. Just for a moment. My partner gave me a little bump to bring me back, but I swear that half asleep moment was one of the most peaceful parts of the entire night. That is not a complaint. That is a compliment to the sound. I have seen people leave reviews calling you three stars without much explanation and I cannot help but wonder if they missed the point entirely. This is not just a building. This is work. This is rehearsal. This is years of people dedicating their lives to making something precise and emotional and alive. If someone walks away and only notices the seat or the temperature, I think they might be looking in the wrong direction. You are not perfect in a sterile way. You are better than that. You are alive in the way a place should be when art is being made inside it. Five stars from me. Not just for the show, but for the laughter, the peanuts flying through the air, the sleepy moment of peace, the history in your bones, and the way you still manage to hold a full house like it is nothing more than a good conversation. Sincerely Someone who keeps coming back to sit in your seats and listen a little longer than planned

I've made so many special memories at Lincoln Performance Hall over the years, it was a joy to…read morereturn this evening for a performance of Spring Awakening. Patrons are still benefitting from the 2013 renovation, which provides roomier and more comfortable seats, and better sound and acoustics. The theater seats 465 people. I'm still recovering from an injury last fall, and I find it helpful to sit in accessible seating. I contacted the theater for information regarding seating arrangements and they were able to give me all the details I needed. I was pleased to find a seat reserved for me the night of the performance, and someone checked in with me to make sure I was comfortable in my chosen location. I didn't expect this level of care and follow through for a college theater production, but thank you so much! I had a wonderful evening. There are many concerts, presentations and special events that take place in this theater each year. I highly suggest looking at the calendar regularly so you don't miss out on any exciting events.

Beautiful performance hall, it's full of old architecture. That being said it doesn't have any…read moremodern amenities. We tried to get tickets to the NBC by steps' performance last year, but it was sold out as it was at our performance today, and I'm so glad we scored tickets!!!This is the perfect first venue for introducing your child to the theatrical world! It's a child friendly performance and a great place for the venue with parking garage directly across the street. We will be attending more performances now that we know how accessible they are.

It was magical what happened on stage at the Clinton Street Theater at…read more8:00PM on June 4. In the indispensable company of the French novelist-poet Sidonie-Gabrielle Colette, Maurice Ravel came to life. Jena Viemeister is the founder of --- and driving force behind --- the recently established Divergent Opera Theater, which was responsible for the magic. Collaborating with co-artistic director Kristin Heller and performing with a remarkable cast of exceptional performers assembled for the occasion --- with most of them singing more than one role --- Jena presented what amounted to a theatrically enhanced 'concert version' of Ravel's L'Enfant et les Sortilèges. Typical Ravel, the work is every bit as challenging as it is ingenious. Divergent Opera shone brightly. An English-language narrative relating the action, scene, by scene, made the performance very agreeably accessible. L'Enfant et les Sortilèges ('The Child and the Magic Spells') is an hour-long one-act opera in French that is certainly a jewel of its kind and possibly a masterpiece of its genre --- presenting an intimate, thoughtfully comedic look into a day in the life of a privileged young lad who hates his schoolwork and impatiently awaits his opportunities to wreak havoc. Viewers look on with an unsettling brew-jumble of amusement and horror to observe the boy indulging mischievous impulses; playing pranks on the toys and his pets and the furniture --- even the wallpaper. They then witness his 'paying for his pleasures' after his mother has resigned herself to her son's defiance and left --- and all his surroundings awaken into a life of their own to torment him in return. Viemeister personally enacted the role of 'l'enfant' with real panache --- imparting the initial spark as the first character to sing and establishing an interpretive momentum that seemed to catch fire in earnest and to be assimilated by each subsequent performer. Notwithstanding the limitations of 'acting' understandably restricted to facial expressions (often extravagantly successful) and a very few props, all the singers seemed to 'reside' in their respective roles. The words and music lived and breathed. Countertenor Loren Masanque was an imposing presence in the dual roles of the child's mother and also of a local herdsman, ably scaling the not inconsiderable heights of the roles that he sang with impressive clarity. His performance was expressively matched by the one delivered by tenor Eric Asakwa in the triple roles of 'The Teapot,' 'Old Man,' and 'Frog.' In both cases the music was clearly so well in hand on the part of its respective performers as to allow the characters to emerge à pleine force. No less successful in her triple roles as 'The Cup,' 'Dragonfly,' and 'Squirrel' was mezzo-soprano Haley Maddox, whose arresting facial features provide her the unmistakable appearance of having been 'born for the stage.' Sopranos Erin Walker ('The Fire') and Lindsay Reed ('The Shepherdess' and 'The Bat') both turned in performances not short of stunning as each showed herself a wonder of agility and finesse in negotiating roles hovering high in the vocal ionosphere. Vakare Petroliunaite, as the last to make her appearance, was, as always, well worth waiting for. She performed the roles of 'The Princess' and 'Nightingale' --- and creamed them both. Chorus members for the production included Karsten Montgomery, Emily Skeen, Jared Young, and Nick Detorre. Of indispensable foundational significance to the excellent performance was outstanding piano accompaniment provided by Rebecca Stager. Conducting for the occasion was Lisa Lipton. Where the Clinton Street Theater itself is concerned, it is altogether tempting to conceptualize the historically invaluable 1925 venue --- with the ambience of the far-from-fully-realized reclamation it continues to need --- as a 'public gathering-space counterpart' of a nineteenth-century Parisian garret. In short, the venue provides an atmosphere very much in the casual tradition of 'come as you are' --- as one can imagine the friends of La Bohème's 'Rodolfo,' 'Colline,' and 'Schaunard' showing up at any hour of the night or day at the garret the trio shares --- flasks in hand, stories to tell; philosophies to discuss a few flights up off the sidewalks of Paris; 'Mimi's' to meet. And look what came out of the kind of garrets exactly like those immortalized in a great deal of nineteenth-century opera --- artists and poets and musicians aplenty. Who knows where 'Divergent Opera' will be showing up in the perhaps not-too-distant future. It says something that Colette and Ravel surely enough came to life on June fourth, and there has very possibly not manifested an apparition more gratifying to witness since Jesus woke Lazarus. Miracles are alive and well in Portland today. Applause, applause. --- RL Remmel

From the owner: Divergent Opera Theater (D.O. Theater) makes it it's priority to bring you inclusive and innovative…read moreperformances and vocal training. We encourage collaboration with individuals and community groups that are traditionally underrepresented in society, such as the disability and LGBTQ communities.

OBT's performance of The Sleeping Beauty was incredible. We were stunned, absolutely mesmerized…read more The dancing was magical (OBT's ballet stars are incredibly talented), the orchestra's music was thrilling, the costumes were gorgeous (perhaps among the most exquisite ever), and the staging was beautiful. We see most of their performances each year. OBT's dancers and company are multi-faceted. If classic ballet isn't your favorite...enjoy one of their more modern performances. They do both with such flair! Highly recommended.

This place is full of self-important wannabes who take all the fun out of dance and replace it with…read morecondescension and arbitrary rules and shaming. It is an actively unhealthy environment for kids and other young people, and especially females. I would avoid, avoid, avoid.

For a city the size of Portland it really does have a lot going on in the arts world and we have…read moremany wonderful buildings to house it. In this blog, I would like to just concentrate on one of them - what used to be known as the New Theater Building and now called the Antoinette Hatfield Hall. Now why they called it a Hall, I have no idea, because this Hall contains several theaters including the Newmark and Dolores Winningstad theaters. Full review and pictures in my blog: http://www.brianbailey.us/blog/?p=583

It's a cool venue. We came to see Cabaret and the seats were spaced out and pretty comfortable…read more Production was pretty awesome, seamless, and entertaining. Bathrooms were clean. I didn't handle the ticketing, so I can't speak on that. I will definitely be back for more shows!

I have been here before, but just to eat, and always with a big group. I get my family together…read morewhen I'm in Portland, and this spot has always been accommodating and awesome. This is the first time I've gotten a room, and I'm glad I did. Coming for lunch or dinner is great, but you really don't get the full experience at all. First things first, thank you to megan at the front desk, fantastic service, hope you love your sticker! All the bartenders and servers were incredibly genuine and real, and I appreciate that. You're not putting on an act, you're just at work. Chelsea, Sarah and Jacob at the courtyard: thank you specifically! Jacob, love the earrings! Thanks for a great stay everyone, and if you're ever in Sedona, come say hi!

Stayed here for one night. A Sunday to Monday. Not many events at that time. You can tell they can…read moreget busy and become pretty hectic. By 10pm, I had the place to myself on this night. At the restaurant, had the Diablo chicken sandwich. It was not edible. One bite and I knew this can't be finished. Later on had the brownies for dessert during happy hour. That was great. Happy hour does not leave you THAT happy. Couple bucks off. Mixed drinks are fine. Staff is pleasant for the most part. Seattle frost really is PNW frost if you ask me. I also had breakfast there and had a granola and yogurt. Fine. Stayed in a king in the school wing. 101. No ghosts (perceived by me). It smelled like it though. It's an old building. It was mostly clean although there were food crumbs all around my desk. Gross. See pic. Room was huge with beautiful windows. Loved the headboard with the cow. Overall was quiet. Slept fine. I enjoyed the free coffee at the front desk using the coffee mug provided. Cool. The whole building is great. The kitschy art is fine. I much preferred the photographic history. Overall, just the smell and dirt and bad food made it challenging. I was glad to go nevertheless. Completing my passport!

One of the hardest things about being mobility challenged is accessibility to just about anything…read morereally. I was so active and and I try to continue to be as much as I can. I have a tissue disorder so I need ADA seating and thankfully I was able to relearn to walk and I'm not paralyzed but my body also causes my funds to be limited. With that said, I completely understand that companies want to sell as many tickets at full price as they can before allowing Arts for All patrons. I just wish they would have this disclosed on the Arts for All site or that they only offer Arts for All as a rush situation the night of the event. Triangle Productions says to contact the box office for AFA tickets so I left several messages for Triangle Productions with no call back for weeks. Now the production is a month away so I figured I'd try email. I had to hunt down their email because their website just has a phone number. A few hours later I received a curt reply that they're too busy to deal with phone calls and that they only allow AFA tickets day of the show. They were only able to give me ADA seating if it was for a regular ticket. It's shocking and sad to receive such an uncomfortable reply like this especially reading their mission statement. I didn't ask to be disabled and unfortunately my disability affects my available funds. I want to support the Arts still and wish I could monetarily. I was just at a show last night and the choreographer's thank you speech moved me stating thank you for including yourself in this experience with us... my friend and I, upon leaving discussed how much this really affected us. I'm so grateful I was gifted that inclusive message last night because it made this intensely oppositional message a bit easier to bear. I might mention that that company reserved space for us weeks ago and all of their shows are sold out for their run as well.

What a wonderful experience in watching Margie Boule starring as Eleanor. She delivered a first…read moreclass performance. The story of Eleanor's life was woven together very well. I knew very little about her life. Fascinating. The reason for the low rating is due to the lack of microphones as well as speakers. Sitting five rows from the stage in the center and clould not hear Ms Boule most of the time except when she stood down stage.