Knowing when to leave will never let you reach the point of no return
With San Francisco Opera’s orchestra on strike and bass Andrew Potter retiring at 43, Miles Greenberg sees opera’s ethics and economics of impracticality at a breaking point
With San Francisco Opera’s orchestra on strike and bass Andrew Potter retiring at 43, Miles Greenberg sees opera’s ethics and economics of impracticality at a breaking point
There may be frozen giant erections and psychedelic projections galore — but there’s also a surprising degree of emotion in Kirill Serebrennikov‘s latest theatrical experiment in Berlin.
Parterre Box draws your attention to another Macbeth taking the stage this month, the triple-threat baritone Luca Micheletti.
I guess it’s no secret here that I LOVE contemporary operas.
Countertenor Carlo Vistoli shows he’s got the goods across the repertoire at the Park Avenue Armory.
Berlin’s 26-27 season opens with a bang.
On the heels of Christopher Nolan’s blockbuster film adaptation, John Danaher muses on operatic iterations of Homer’s Odyssey.
Opera Philadelphia’s production of Mitridate, re di Ponto proves more puerile than perhaps its 14 year-old composer intended.
I am very much interested in La Scala’s upcoming opening night with Verdi’s Otello.
I’m overdue for some bel canto and WCO has historically done it well.
In Lise Davidsen‘s new album Lise Davidsen: Verdi, the singing is thrilling but the interpretations are limp.
Parterre Box offers an (almost) comprehensive introduction to the sopranos headlining Mozart productions in New York, Chicago, and San Francisco this fall.
This season marks the third annual visit of The English Concert to American shores, this time with a production of Handel’s Alessandro.
In eclectic productions of Carmen, Ariadne auf Naxos, and Così fan tutte in Salzburg, A.J. Goldmann finds vindication for Markus Hinterhaüser at the end of the intendant’s final Festival.
George Saunders’s unforgettable novel about the greatest sorrow known to humankind—surviving the loss of a child and letting go—work as sung theater by Missy Mazzoli.
Evgeny Titov, locally infamous for his production of Salome where the titular heroine wears a paper mask for the entire performance, returns with Szymanowski’s shimmering King Roger.
Keri-Lynn Wilson and the Ukrainian Freedom Orchestra channeled a want for justice into fine music-making in two appearances at David Geffen Hall.
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