I didn't disagree with the Post's critic that there was some sub par singing. The tenor Giancarlo Monsalve left a lot to be desired and the singing of Ketevan Kemoklidze who was Preziosilla, a pretty important character, made no impression at all. I thought Mark Delavan was good, I think the Post's critic just threw him in the same boat with Monsalve unfairly.
I liked Adina Aaron as Leonora a lot. She did very well with the role and I liked her voice. There were several other singers who were quite good, Enrico Iori who sang Father Guardiano and Solomon Howard who is a young local favorite here in D.C.
I thought the first scene was less effective than the rest and I really think they should have stuck with beginning with the overture rather than putting it after the first scene but with the characters still on stage silently acting out the story. That part didn't work well at all. The best part was the fabulous red dress Leonora wore. (How opera is like figure skating, sometimes the costumes are the best part!)
I expected the contemporary setting to detract from the magic of the opera especially because I had seen a publicity photo with dancers and neon signs that reminded me too much of the Met's Las Vegas Rigoletto, but I was wrong about that. They could have done without the neon signs but otherwise the sets worked really well.
For me the most effective was the scene where Leonora goes to find sanctuary in the religious community. Aaron really shone in this part and the set was really effective, kind of a back alley with graffitti. And in the second half they really built the drama up to the final scene so that it had the great impact it should.
It could have been better in any numbers of way, especially the tenor, but I don't expect the Met when I go to the WNO and this was really a great effort.