Andrew Lokay
Andrew Lokay began his career as an opera fan at the San Francisco Opera, where the first performance he saw was Madama Butterfly. He graduated Phi Beta Kappa from Stanford University with a Bachelor of Arts in international relations and French with honors in international security studies. He now lives in Washington, DC and is a frequent audience member for opera and theatre in the nation’s capital.
America’s own Faust gets a compelling operatic treatment, courtesy of DC’s IN Series
Washington National Opera’s holiday presentation of The Little Prince, based on the classic French novella by Antoine de Saint-Exupéry, showcased the company’s Cafritz Young Artists
Washington Concert Opera began its 39th season last month with Christoph Willibald Gluck’s late masterpiece Iphigénie en Tauride.
Washington National Opera presented a well-sung and humorous Marriage of Figaro, buoyed by clever direction and a strong cast, particularly Rosa Feola’s Countess and Joélle Harvey’s Susanna.
The women were the highlights of Washington National Opera’s militaristic Aïda
Wolf Trap Opera concluded its 2025 summer season last month with a production of Carmen that was vocally strong, though not entirely dramatically satisfying, amid challenging weather.
Wolf Trap Opera’s stirring production of Dialogues des Carmélites was a welcome respite from a brutally hot and humid DC summer.
Wolf Trap Opera kicked off its summer season with an inventive production of Wolfgang Amadeus Mozart’s Le Nozze di Figaro inspired by Pablo Picasso that showcased up-and-coming singers.
An innovative score and fluid production by Denyce Graves-Montgomery are highlights of Virginia Opera’s production of Loving v. Virginia
IN Series concluded its exploration of the works of Claudio Monteverdi with a production of the composer’s final opera, L’incoronazione di Poppea, performed with the addition of Indian music and dance.
Annapolis Opera presented a celebration of Leonard Bernstein’s reflections on love, relationships, and marriage, pairing a fully staged production of Trouble in Tahiti with a collection of songs from other Bernstein compositions.
An 1887 French grand opera by a Black American composer receives its world premiere with Opera Lafayette and OperaCréole next week and is raising questions about the potential of “restorative justice” in the operatic canon.
The court of Mantua has run away to join the circus; Washington, DC and Baltimore’s experimental opera company, IN Series, transformed Giuseppe Verdi’s Rigoletto in a new production set under the big top this winter.
Andrew Lokay discusses the real world of warfare behind Jeanine Tesori and George Brant‘s Grounded, which opens the Met season on Monday.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
