Reviews
Michael Spyres’s nobly moving Idomeneo wasn’t just a bravura triumph: singing strongly throughout, he brought more colors to his portrayal of the tortured king than I had experienced from others in the Ponnelle production.
It’s nasty world, Shostakovich seems to say, where life alternates between boring and terrifying.
Director Barrie Kosky brings to Fiddler on the Roof fascinating ideas, fine casting, equal mixes of comedy and sadness, and, from the beginning, a sense for we of the audience that we were about to spend three hours in very good hands.
Sondra Radvanovsky has an unconventional voice that is suited to unconventional characters and is best used in rangy, difficult music. The lack of lush beauty was no deficit in depicting Medea’s jealousy and vengeful rage.
A troika of operas by Rachmaninoff: Aleko , The Miserly Knight and Francesca da Rimini , courtesy of Odyssey Opera.
Robert Carsen‘s legendary production of Eugene Onegin finally arrives in San Francisco.
For the season opener, Opera San José decided to explore the class conflict central to Le nozze di Figaro by transporting the opera to India, specifically during the British Raj.
With the phenomenal cast that stacked Paris Opera’s production of I Capuleti e i Montecchi , it was easy to overlook the quirks of Bellini’s opera and get lost in the pleasures of glorious bel canto singing.
Rodrigo is a ball-breaking role, but Lawrence Brownlee makes the demands sound easy—tossing in additional high notes and audaciously decorating cabalettas as if it were the easiest thing in the world.
My impression was of a very fine singer performing a role that was slightly too large for him.
Festival O is back, and the sense of joy and expectation was palpable among the audience and Opera Philadelphia staff, who chatted together as we awaited the start of The Raven.
Emily D’Angelo, in a moment of subversion, sang the entire program wearing casual trousers, a vest, and chunky combat boots, her cropped hair slightly mussed, and wearing only light make-up.
Surrounded by security and greeted by a bevy of cameras, Su Majestad la Reina Sofía brought a bit of excitement to an evening that didn’t end up being all that musically rewarding.
LA Opera sent out an email warning that the production “contains depictions of blood, violence, and drug use, as well as strobe lights and a gunshot effect in Act III.”
The concert itself—starring Michael Fabiano, Nadine Sierra, Pene Pati and Lucas Meachem—seemed to be a beautiful affair that I would have loved to see it in a person.
Antony and Cleopatra was an auspicious start to San Francisco Opera’s second century, a performance that seems to improve as I continue to think about it.
This tenor must be the finest classical singer in the world today.
LOC’s Ernani is a satisfying evening of Verdi sung by four stars at the height of their powers.
Philadelphia’s memorably if quirkily named Idiopathic Ridiculopathy Consortium deserves to be better known.
The New York City Opera has become an elusive “now you see it, now you don’t” presence in the New York opera scene since the departure of main sponsor and chairman of the board Roy G. Niederhoffer in 2019.
Sor Juana Inés de la Cruz is perfect figure for an opera; known, but not known enough, especially in English-speaking countries, with a life that involved plenty of love, poetry and tragedy.
No uneasy stock market or rickety roller coaster has generated more stomach-churning highs and lows than the musical Dear Evan Hansen.
The smile for the fools is especially broad this summer in the Berkshires, where a charming revival of A Little Night Music opened recently at Barrington Stage Company.
I felt that the whole performance at West Edge Opera on Sunday was greater the sum of its parts, particularly due to the dedication of the whole cast and crew amidst all adversities.
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.
