Reviews
As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
I can still vividly remember the first time the music of George Frideric Handel made an impression on me.
Anna Bolena might be the earliest of Donizetti’s operas that might have name recognition to a non-specialist audience.
Although primarily known as a vanguard of the Downtown music scene, John Zorn’s artistic and intellectual ethos is at home at the decidedly Uptown institution of Columbia University.
Despite this being the first full-length opera for Gabriela Lena Frank, there’s no lack of experience across the creative team which, along with favorable reviews for the production, contributed to high levels of anticipation.
It took more than 25 years for Harmony, the passion project of singer-songwriter Barry Manilow, to reach Broadway, where it opened recently at the Ethel Barrymore Theatre.
Edward Hopper’s paintings from the 1930s and 1940s are simply lousy with windows.
I’ve never had a better time in an opera house.
In its Met premier, neither a talented cast nor some beautiful musical moments were enough to make Florencia feel new or vital.
Heartbeat Opera knows how to party.
Leos Janacek’s 1904 opera Jenufa could be a rather grim affair.
Franz Liszt attempted practically every musical genre in vogue in the nineteenth century, although it is undeniable that a handful of the genres he only sampled (like string quartet) or adapted to his own temperament in original ways (like the symphony).
Gioachino Rossini’s adorable adaptation of Cinderella famously dispenses with a slipper in favor of a bracelet to lead the Principe Ramiro back to his Cenerentola. If only this performance had benefitted from such a glittering guiding hand.
Aristophanes’ The Frogs is a comedy with a lump in its throat – laughter coming from tears.
“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”
Let’s not forget that it’s only been two years since the Met mounted its first-ever opera by a Black composer.
Two of France’s leading Early Music ensembles recently visited New York City to perform music by some of the 17th century’s leading composers.
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
When the New York Philharmonic announced Gustavo Dudamel as its next music director earlier this year, speculation arose immediately as to who would take his place out West when he leaves the Los Angeles Philharmonic in 2026.
To get right to the point, the performance did not come together despite some good elements and was a major missed opportunity.
This Sunday marked a muted return of the Richard Tucker Foundation Gala, which had the dubious distinction of the fourth edition not to feature a prizewinner and perhaps the first not to provide complete orchestral and choral accompaniment for its performers.
Chopping up the action and dutifully showing each plot point may work in a film but in an opera, where every piece of marginal dialogue must be set to music, it feels like a chore.
In this vulgar world, there is no situation that can’t be limned with a power ballad.
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.
