On the party platform
Don’t expect any sweeping statements from Franz Welser-Möst ‘s polished, if dramatically inert, Fidelio.
Reviews
In my end is my beginning
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
Gorgon wild
Iain Bell and Lydia Steier‘s Medusa stuns in Brussels.
Garden leave
Brigitte Fassbaender’s acid-laced production of La finta giardiniera leans into the absurdities of Mozart’s early dramma giocoso.
The anxiety of influencer
Constance: A Confession, presented in Brooklyn by Experiments in Opera, satirizes our digital age with style.
Difficult people
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Dream a little dream of me
Gabriela Lena Frank’s El Último Sueño de Frida y Diego enchants and surprises despite the Disnified treatment of its subject matter.
The Pennsylvania Dutchman
Verdi’s Stiffelio goes Amish in Vienna, featuring a stellar Luciano Ganci in the title role.
Less is more
Vanessa is spare and compelling in Heartbeat Opera’s production.
Holding out for a hero
Clémence de Grandval’s Mazeppa gets the superhero treatment in Dortmund.
Crete-ed rivalry
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
Joie de vivre
Erin Morley, Lawrence Brownlee, and Malcolm Martineau put on a jolly good show at the 92nd Street Y.
No need to grin and bear it
An exciting cast digs their claws into a heady production of La Calisto at the Théâtre des Champs Elysées.
Three faces of Violetta
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
Es gibt ein Reich (jenseits von Manhattan)
The Bronx Opera‘s Ariadnes auf Naxos is well worth the subway ride. Plus, two strong premieres at the Brooklyn Art Song Society.
Which side story?
Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
Clipped wings
Madama Butterfly at Opera Colorado plays it safe — and never fully takes flight.
Un paio in tre
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
By Christopher Corwin and Andrew Lokay
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Don’t tread on Marie
Boston Lyric Opera’s Revolutionary War-set Daughter of the Regiment prioritizes accessibility without losing its charm.
As a hero going to conquest
A joint Beethoven–Adams program conducted by Dima Slobodeniouk suggests a way forward for the embattled Boston Symphony Orchestra.
‘Tis almost fairy time
Curtis Opera and a charming cast of young singers cast a spell with their beguiling production of Britten‘s A Midsummer Night’s Dream.
They don’t stoop to conquer
The countertenors conquer the day in Handel‘s Giulio Cesare in Egitto at the Deutsche Oper Berlin.
The poetry is in the pity
Klaus Mäkelä unexpectedly joins the foray for The Cleveland Orchestra‘s performances of Benjamin Britten’s War Requiem.
Bloodless revolution
Bluebeard’s Castle and Erwartung at Canadian Opera Company deliver on fine performances even if Robert Lepage‘s production skimps on horror.
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).