Kevin Ng
A stark, sweltering performance of Lady Macbeth of Mtsensk shocks the Komische Oper Berlin.
This is the classic Onegin and there’s much to love, especially from Khaikin‘s sensitive conducting and Lemeshev‘s ideal Lensky.
It’s a dazzling, shocking, and entertaining 100 minutes – one of the best new operas I’ve seen.
Composer Philip Venables talks about queer utopias and bending gender and genre in The Faggots and Their Friends Between Revolutions which opens at the Park Avenue Armory this week.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
When Angela Meade and Michael Fabiano first sang Lucia together as students at AVA few would have predicted that they would go on to sing Turandot 16 years later.
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
Audacious star performances elevate safe direction in Richard II and The Seagull on London’s West End
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
Il trovatore may be famous for its melodramatic plot and unlikely mistaken identities, but surely even Verdi and Cammarano couldn’t have imagined the chaos of a performance featuring two Manricos and two Leonoras.
I’m old enough to remember when Yannick Nézet-Séguin could do no wrong.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
Not in my wildest dreams could I have come up with anything more homosexual than the sight of Almodóvar muse Rossy de Palma in a stage-length wedding gown onstage Madrid’s Teatro Real.
“The mystery of her voice gripped my soul,” Sharpless tells Pinkerton at the beginning of Puccini’s Madama Butterfly. One could say the same thing of Aleksandra Kurzak’s remarkable portrayal of the title role, the main reason to catch the Met’s latest revival.
Nothing says “diva” like an insane recital program.
“None of that sentimental crap, okay?”
To paraphrase Terence Blanchard’s Champion, what makes an opera an opera?
I wish more sopranos programmed recitals like Fatma Said does.
It doesn’t get more classic than John Dexter‘s Dialogues des Carmélites.
The main reason to see this revival is Benjamin Bernheim’s Duca.
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.
