Reviews
An opera company presenting a Broadway musical that centers around a woman of a certain age travelling to Italy with her young daughter might seem more a vehicle for a great diva of a certain age.
Luisa Miller snowballs toward disaster and death.
When soprano Yihan Duan started to sing her aria, you could feel an almost electric charge that something special was happening.
The Paris Opera assembled an all-French cast to stage arguably the most well-known example of opéra-ballet, Jean-Philippe Rameau’s Les Indes Galantes.
Rossini’s Semiramide is a highly original and imaginative work of theater that impresses for its creative and beautifully scored orchestration, incisive recitatives and ensembles, and theatrically intriguing characters.
There were plenty of Turan-do’s and only a few Turandon’ts at the Met’s Turandot Sunday afternoon.
I can’t think of an opera this year that I’ve enjoyed as much as Tuesday’s Met Macbeth, thanks especially to the smashing house debut of Italian soprano Anna Pirozzi as its blazing Madame M.
The opening night of the Canadian Opera Company’s 2019-20 season was all about the Wilsons.
It’s an old chestnut of a joke that applies even more to opera than to the theatre: A veteran actor is on his deathbed.
As we also saw last year, Festival O19 ended on a sweetly quiet note, movingly connecting Opera Philadelphia with the larger city and our musical future.
As the Netrebko-crowned Macbeth took to the stage at the Met, just a few blocks away, Teatro Grattacielo presented its 25th Anniversary Gala Concert.
I’m certain I wasn’t the only one thrilled to bits to see LA Opera’s production of La Bohème finally retired after 26 years and seven mountings.
Erwartung and Bluebeard’s Castle returned to Lincoln Center Thursday night in a musically scintillating if theatrically mild double-bill by the New York Philharmonic.
A brace of Handel operas at the George Enescu International Festival.
My blood sure boiled at this revival of the Met’s utterly punchable production of Macbeth.
At the Met’s performance of Manon Tuesday evening, Michael Fabiano made as good a case as any for renaming the opera Chevalier des Grieux.
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
For the academics who may be reading this: Let Me Die exists in a confounding but intriguing interpretive liminal space.
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
Employing the most slimly elegant resources, Festival O’s Denis & Katya is a monumental, dramatically shattering event.
Opera Philadelphia’s Love of Three Oranges is never less than extravagantly entertaining theater.
Broadway star Kelli O’Hara stepped out of her comfort zone.
The Philadelphia Orchestra’s opening night concert, for better or worse, was not a gala evening starring Plácido Domingo.
From the technical standpoint San Francisco Opera’s Billy Budd was pretty much flawless.
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.
