Adam Moscoe
Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich.
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.
In his first appearance on the stage of Paris’ Palais Garnier, Roberto Alagna, as the newly knighted Rodrigue, was confronted with a profound dilemma.
Coming from placid, luxurious Geneva, where I am currently living, Berlin felt even more jarring than usual.
“Michael Volle is not into bling,” begins an article in ACT-O, the glossy magazine of the Grand Théâtre de Genève.
At the Opernhaus Zürich, the coat check is not optional.
Karita Mattila is a gift to this planet.
Olga Peretyatko has officially left the chorus.
Clemency tends to get a bad rap these days, as polities demand swift action by leaders whose mandates to govern are violently threatened by “terrorists.”
What would you do if I asked you to take a old, faded version of Puccini’s score for La Bohème and fill in the unreadable parts with a mélange of disco, kabarett, and Alban Berg?
Heaven temporarily relocated to the Théâtre des Champs-Élysées Sunday evening for a concert performance of Rossini’s revered but rarely heard Semiramide.
And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith… I am nothing.”
Paris can be a lot to handle, but this week it was a lot to Handel.
“There it is! The Castel Sant’ Angelo!”
Cecilia Bartoli, the revered, ebullient, and unique mezzo-soprano, does not like to fly in airplanes. Yet she managed to journey to St. Petersburg, Russia.
“With radiant looks, we shall depart this world,” sing Konstanze and Belmonte near the end of Mozart’s exotic yet charming opera Singspiel Die Entführung aus dem Serail.
Three nights, three concert halls, and three incredibly diverse programmes.
Readers of this site are typically up to speed on emerging vocal talents, so clearly there is no need for me to write a review of Chilean-German soprano Carolina Ullrich’s riveting recital at the Paris Opera?
I just arrived back from Stella di Napoli’s.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
Walking away from Theatre Châtelet this afternoon, I felt as though my relationship with France and its notoriously perplexing people and culture had at long last reached some degree of depth.
Sondra Radvanovsky lent her luminous voice to Chamberfest for what was an unexpectedly unique recital.
Who is the most happy fella, he who perfectly fits societal definitions of fitness and attractiveness, or he who attains self-acceptance in spite of whatever personal idiosyncrasies he may confront?
The merits of Candide—Leonard Bernstein‘s musically glimmering yet dramatically awkward comic operetta based on Voltaire’s novella – are on ravishing display at the Menier Chocolate Factory.
The experience of watching Wagner’s final opera Parsifal is frequently elevated to a spiritual occurrence, and productions have historically emphasized the religious dimension of the opera’s core themes of redemption and the dangers of temptation.
