Reviews
I must confess to feeling a bit of “Tosca fatigue” as I entered the Lyric Opera of Chicago house for Wednesday’s matinee of the Puccini standard.
For those who complain (not entirely unfairly) that Handel operas are “just a string of da capo arias,” I sometimes mutter to myself, “Have they ever tried Rameau?”
Michel van der Aa’s new opera UPLOAD at the Park Avenue Armory explores the various ethical issues surrounding AI while coming back to a set of classic philosophical questions about free will, pain and the nature of the soul.
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
In 2022, making Così fan tutte intimate is not a radical act. Making it enjoyable, however, is.
Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music and singing, it’s cordon bleu.
Ana Maria Martinez is an artist of the first caliber, which was richly evident throughout this imaginative, substantial (nearly two hours!) program, which was (thank you!) offered without a music stand.
The Boston Symphony and Alban Berg’s “Wir arme Leut” spread musical riches at Carnegie Hall.
Los Angeles Opera’s St. Matthew Passion was by equal parts challenging and hypnotic to watch.
While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.
Despite a star-studded cast, last night’s Anyone Can Whistle at Carnegie Hall ultimately failed to take flight.
We have two reasons for celebrating Jessye Norman and the first is a release on the BBC / London Philharmonic Orchestra label of a Richard Strauss concert.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
There was something very Russian—indeed, Chekhovian—about the mix of joy and tears, as the Academy of Vocal Arts performed Tchaikovsky’s Eugene Onegin
When was the last time the Metropolitan Opera mounted a new production that was musically outstanding yet the direction and/or design mostly sucked?
Jordi Savall and William Christie, 80 and 77 respectively, stand as the two senior masters whose recordings and appearances have done the most over the past decades to build a healthy local enthusiasm for pre-Classical music.
Minutes into “An die Nacht,” the first song Friday night, I realized how much I’d missed being enveloped in that seductive Straussian combination of a soprano (or two or three) rising higher and higher over a surging orchestra.
Young voices ringing out Stravinsky’s witty melodies at close quarters gives great pleasure if you are fond of this witty score and its many parodies of early operatic cliché.
Jerry Zaks’ high-gloss production, which trades heavily on a bland Americana at odds with the sharp satire of Meredith Willson’s libretto and timeless score, operates on all cylinders but fires on hardly any.
The Kennedy Center’s Opera House was a white-hot crucible of theatre kid energy on Friday evening for a luxurious 50 Years of Broadway at the Kennedy Center gala.
Embedded in the discursive scenes that make up the 100-minute play Shhhh is the notion that the line between pleasure and pain—of the corporeal and psychological varieties—is ever-shifting and often problematically conceived.
Lyric Opera of Chicago scored a smashing success on Sunday with its “Verdi Voices” concert, featuring soprano Tamara Wilson, tenor Russell Thomas, and Lyric Music Director Enrique Mazzola conducting Members of the Lyric Opera Orchestra in what might be termed a program of Verdi’s Greatest Hits.
It’s 1938. We know, even if the characters do not, how the story will end.
Two hours of bedazzlement await you.
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.
