Reviews
For this revival of Tosca Teatro Real has configured several casts with some of the best singers in the world: Sondra Radvanovsky, Maria Agresta, Anna Netrebko, Joseph Calleja, Michael Fabiano, Yusif Eyvazov, Jonas Kaufmann, Carlos Álvarez, Gevorg Hakobyan and Luca Salsi.
Last night, for the first time in nearly a year and a half, opera returned to Lincoln Center.
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.
As soon as James Clutton, the new Opera Holland Park director, stepped on stage to welcome the audience, we all knew that we were not at the typical English summer opera festival.
Pauline Viardot‘s Cendrillon hews closer to the Perrault original than either Rossini or Massenet’s more familiar retellings and is dainty in conception as a salon opera for her students.
The crown jewel of this year’s Munich Festival is undoubtedly Richard Wagner’s Tristan und Isolde, which opened the Festival on June 29 and will close the Festival with an “Opera for All” screening on July 31.
Zachary James builds on his early career experience as a musical theater performer to deliver a thoughtfully crafted, blessedly restrained Quixote/Cervantes.
For the weeks between the announcement that the return of Wolf Trap Opera would, in part, take the form of a concert performance of Sweeney Todd and its opening at the Filene Center on Friday evening, I racked my brain: why Sweeney now?
Today’s listener has heard the scores of the classic Westerns that borrowed from Puccini (and Wagner!) to create the sound of the myth of the West.
Plucked from obscurity by Howard Hughes and sold to the public as a buxom, brunette heir apparent to his former protégé, Jean Harlow, Jane Russell became a household name before she ever shot a single reel of film.
March 2, 2020 – June 18, 2021: Those 15 months were the longest I’ve gone without attending a live opera performance since high school.
Though the formal recorded aria recital is the ultimate calling card of an artist, the invitation to the spectator to receive, listen, and critically behold of the offerings (on fire or burnt), they are but a souvenir and there are a few drawbacks inherent with the presentation.
When LA Opera finally decided to put a toe in the water and mount its first production since the start of the Covid-19 pandemic, it was Igor Stravinsky‘s opera/oratorio Oedipus Rex.
If you have not been following the exploits of Teatro Grattacielo during lockdown, it’s not because they haven’t been exploitatory all over the place.
Director Jon M. Chu’s film adaptation of Lin-Manuel Miranda’s In the Heights has come around at exactly the right moment.
Faith. The title of this fourth and final chapter of Adam Guettel’s Myths and Hymns made me pause for reflection.
I’ve enjoyed these streamed recitals, warts and all, and always appreciate the chance to watch performers let their hair down, so to speak.
The Metropolitan Opera National Council Auditions were one of the last events I attended in person in 2020. Now, one year on, the competition has returned, this time in an online format, and this time with an entirely new name: The Metropolitan Opera Eric and Dominique Laffont Competition, after the event’s new sponsors.
This solid if not stellar performance finds our diva in particularly passionate form. Maybe they should have re-titled it Maddalena?
Ombra Compagna, out today on Pentatone, spotlights Lisette Oropesa in 10 of Mozart’s most challenging concert arias accompanied by Il Pomo d’Oro conducted by Antonello Manacorda.
Opera is back, baby, and it’s good to be home!
The great Dalai Lama once said, “whenever there is a challenge, there is also an opportunity to face it, to demonstrate and develop our will and determination.”
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
Jonathan Dove’s Flight, which premiered at Glyndebourne in 1998 and is now being streamed by the Seattle Opera, is structured like one of those baroque extravaganzas where some half dozen characters find themselves (in every sense) on a magical island, its properties little understood.
If you missed Amour during its Broadway premiere 19 years ago, you’re not alone.
A Baroque Valentine’s with Opera Lafayette | Feb | DC & NYC
Celebrate love in all its guises with tender ballads, amorous duets, cheeky verses, and bawdy drinking songs plus food, cocktails and wine.
STEMdiva status
Ahead of a special boozy, bawdy Valentine’s Day concert, artistic director of Opera Lafayette Patrick Quigley speaks with soprano Maya Kherani about her journey from MIT to rising American Baroque star.