Reviews
Across three evenings at the 92nd Street Y, Konstantin Krimmel and Ammiel Bushakevitz traversed all of Schubert‘s major song cycles with stark intensity.
In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
Gulfshore Opera’s vigorous production of Carmen answers a familiar question.
It would be difficult to find a better description for Ambroise Thomas’s newly-recovered Psyché, recently heard in a new recording from Palazzetto Bru Zane, than the one uttered by her suitors: “Charmante Psyché!”
Offenbach‘s Robinson Crusoé is salvaged from obscurity.
It is a physical pleasure to hear Kate Lindsey at close quarters.
“This isn’t an opera that touches on queer themes; it’s a bundle of queer themes tied up in an opera.”
A consideration of Anika Kildegaard’s extraordinary recital in Philadelphia—and the oddity of recitals themselves.
Though perhaps showing its age, a storied production of La bohème nonetheless makes a welcome return to the Los Angeles Opera
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
MasterVoices presents a strongly-cast Sweet Smell of Success—but the merits of this noir musical are hardly black or white.
Barbara Strozzi links two sensuous programs by L’Arpeggiata and Catapult Opera.
Are today’s stars enough to sustain Andrea Chénier?
The Monkey King at San Francisco Opera combines spectacle and sentiment.
As Messiah season begins, Christopher Corwin reports on two of Handel’s forays into the Old Testament.
Washington National Opera presented a well-sung and humorous Marriage of Figaro, buoyed by clever direction and a strong cast, particularly Rosa Feola’s Countess and Joélle Harvey’s Susanna.
Carl Orff’s cantata tries its fortunes at the Lyric Opera of Chicago.
A new recording of La fiamma from Deutsche Oper Berlin sets Respighi’s score ablaze.
Austin Opera’s 40th anniversary gala celebrated the present while gesturing boldly towards the future.
Pittsburgh Opera’s Fellow Travelers delivers a timely story with detail and care.
Jeanine Tesori’s Blue is an ambitious and worthy opera that deserves a better presentation than it got at Lincoln Center on Saturday.
“Protect the dolls, they say, but who really cares for them?” This question, posed by performer Mara Snip during the postlude of Neuköllner Oper’s 1000 Airplanes on the Roof, had a clear answer: Aliens.
Michael Thalmeier‘s Tristan und Isolde in Berlin asks, how much minimalism is too much minimalism?
As my friend and I Ubered out to the luxurious Cobb Energy Centre for Atlanta Opera’s La traviata, I had trains on the mind.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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