Reviews
All in all, Mahler’s ethereal evocation of the natural world, and the world beyond our own, is becoming old hat.
Has anything positive happened to the performing arts since the plague engulfed us nearly ten months ago?
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.
Everything’s coming up mélodie! As the pandemic rages on and new lockdowns have thrown large-scale performances into disarray, record labels have been releasing new albums of French art song by the bucketload.
Imagine my surprise then when I discovered a new recording of Tristan und Isolde released by Navona Records, a small label based in New Hampshire that primarily focuses on recitals of chamber music, solo works, and smaller ensemble pieces.
Kennedy Center could not have predicted just how aptly Saturday evening’s rescheduled recital of 2020 Marian Anderson Award winner, baritone Will Liverman, would respond to the moment.
I’ll just note that Cameron and I listened separately; we didn’t compare notes; and on our own, came up with the same list of top three singers… none of whom were among the actual winners.
“Once upon a time / Lived a foolish king. / Mocking Death, his crime, / Pure chaos he bring.”
Diana Damrau and Joseph Calleja presented an uneven program in a lavish setting this weekend in the most recent entry in the Met’s concert series.
A particularly heartbreaking aspect of the pandemic shutdown has, of course, been helplessly watching rising artists have their careers plunged into indefinite silence. But for a few bold souls who are willing to try new things, the moment has also opened doors.
I often think of Boys in the Band as the gay play equivalent of Kern and Hammerstein’s Show Boat—it’s hugely important in theater history, but the politics have become extremely problematic.
What a joy when a comic opera gets you cackling through the whole night, discovering new nuances and perspectives from an oft-seen work and delighted with wonderful singing!
It struck me that Jamie Barton’s voice is not dissimilar to a Henry Moore sculpture: grand and monumental but never brash or ostentatious; eccentric and offbeat but always graceful and tastefully molded.
Over the course of 700 pages, Alex Ross exhaustively—and sometimes exhaustingly—examines an impact that began in the Wagner’s own lifetime and continues unbroken today, with references cropping up in contemporary works as different as The Matrix and Curb Your Enthusiasm.
Fueled by a fierce intelligence, deep earnestness, exceptional eloquence, and social media savvy, Joyce DiDonato is a presence and a power, as much when speaking and thinking as when singing. Who better to imagine a program that would suit this (we hope) unique moment?
It was hard for me not to get choked up, watching two of AVA’s most promising young graduates having to make this opportunity for themselves, and doing it with such palpable good humor.
Lise Davidsen turned in a fine performance Saturday, cementing her up-and-coming star status in an eclectic program given from the Oscarshall Palace in Oslo.
On Sunday afternoon, husband-and-wife duo Roberto Alagna and Aleksandra Kurzak presented a charming program of operatic favorites from the patio of the Château de la Chèvre d’Or in Èze, France.
Renée Fleming presented a satisfyingly eclectic and quietly daring program of songs and arias, an interesting timestamp on a career that, despite its crepuscular vibe, seems as active as ever.
Rigoletto at Circo Massimo was my first opera since the lockdown started in March.
Such a sleek, polished finish is a testament to the incredible resources and experience at the Met’s disposal – to coordinate this livestream across two different continents so seamlessly and with such flair is very impressive indeed.
This video recording of Il trovatore is sensational for all the right and wrong reasons simultaneously.
Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.
Robert Wilson is many things: a visionary (certainly); an iconoclast, artist, director, and designer of sets, lighting, costumes, movement (and furniture). Yet his work is never boring (well, at least not intentionally).
I have seen all sorts of Boris Godunovs, but nothing quite like this.
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.
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.