Gianni Schicchi and Cavalleria Rusticana
A live video broadcast from the Verbier festival starring Bryn Terfel and Ying Fang
A live video broadcast from the Verbier festival starring Bryn Terfel and Ying Fang
By giving Orfeo ed Euridice a happy ending, Gluck ruined a wonderful score.
Marc Minkowski conducts a performance recorded last week at the Festival d’Aix-en-Provence
Yes, Ermonela Jaho is a compelling swooner. But is she a great singer? I have yet to be convinced!
A new opera by Sivan Eldar and Ganavya Doraiswami from the Festival d’Aix-en-Provence
Parterre Box over the last few years has become the MOST USELESS website.
Jake Heggie writes operas like a Restoration Hardware couch—soft, expensive, and allergic to mess.
Kristine Opolais, SeokJong Baek, and Bryn Terfel star in a live broadcast from Tanglewood
Christian Thielemann conducts a live broadcast from Berlin
The musical virtues of Anna Moffo have heretofore eluded me.
With the 2025 Bayreuth Festival beginning next week, Grand Tier Grab Bag spotlights the Eva of its opening Meistersinger: Christina Nilsson
It’s like making love with someone whose rap never ceases—and includes “helpful suggestions” about how you can be improving your game.
George Enescu‘s opera in a live broadcast from the Bregenz Festival
Despite having endured premiers at the Santa Fe Opera, including Cold Mountain, Oscar, and The (R)evolution of Steve Jobs, all of which were disappointing on every level, Santa Fe Opera’s 2011 production of Menotti‘s The Last Savage is an opera I never care to see or listen to again.
A performance of Gustave Charpentier‘s opera recorded last week at the Festival d’Aix-en-Provence
A performance of Cavalli‘s opera recorded last week at the Festival d’Aix-en-Provence
Joan Sutherland as Norma is something I’ve never been able to get.
A live video broadcast from Zurich starring Saimir Pirgu in the title role
A live broadcast from the Festival d’Aix-en-Provence
The opening of Teatro Nuovo’s Macbeth next week is the first of two opportunities this year to hear the opera in its original 1847 Version
I don’t understand the booing of singers, whether it’s booing bad characters, or booing singers who don’t live up to the booer’s expectations.
I so don’t get why any company in the Anglophone world ever bothers to perform Continental operetta in English.
The opening of the Santa Fe Opera’s season is the perfect occasion to highlight its Susanna, American soprano Liv Redpath
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