In mind and not in morals
The Royal Opera House‘s Don Giovanni comes without an instruction manual — but features a fine lothario in Gordon Bintner.
Reviews of operatic, vocal, and classical performances at the Metropolitan Opera, Carnegie Hall, all across America, and around the world.
The Royal Opera House‘s Don Giovanni comes without an instruction manual — but features a fine lothario in Gordon Bintner.
There may be frozen giant erections and psychedelic projections galore — but there’s also a surprising degree of emotion in Kirill Serebrennikov‘s latest theatrical experiment in Berlin.
Countertenor Carlo Vistoli shows he’s got the goods across the repertoire at the Park Avenue Armory.
Opera Philadelphia’s production of Mitridate, re di Ponto proves more puerile than perhaps its 14 year-old composer intended.
In eclectic productions of Carmen, Ariadne auf Naxos, and Così fan tutte in Salzburg, A.J. Goldmann finds vindication for Markus Hinterhaüser at the end of the intendant’s final Festival.
Keri-Lynn Wilson and the Ukrainian Freedom Orchestra channeled a want for justice into fine music-making in two appearances at David Geffen Hall.
A new English translation of Puccini’s La fanciulla del West gallops into a high school in Pacifica with as much grit and gumption as its titular frontierswoman.
An amateurish production of Le siège de Corinthe, combined with heavy-handed conducting, at Pesaro weakens the defenses of one of Rossini‘s most topical operas.
Bayreuth’s AI-powered “Ring 100010110” marred a first-rate cast and orchestra with nightmarish visuals and horrid dramaturgy.
Though, really, the young artists of the Merola Opera Program were more than alright in their annual showcase.
In Bayreuth, a confident Magnus Vigilius and luminous Jennifer Holloway attempt to elevate Wagner’s populist Rienzi.
American Bach led a stirring rendition of Handel’s Ode for St. Cecilia’s Day, full of big questions and even bigger musical highlights.
Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
San Francisco goes baroque with performances of Handel‘s Alcina, Tolomeo, and Rinaldo.
At Wolf Trap Opera, a season-closing Tosca is weighed down by an incoherent setting during Italy’s Anni di piombo.
Aryeh Nussbaum Cohen shows that he’s at the top of a crowded pack of countertenors in two recent New York performances with Philharmonia Baroque.
Ilana Walder-Biesanz reports from The Santa Fe Opera, where Tobias Picker‘s latest opera falls short, a new Rodelinda scintillates, and sumptuous singing abounds across the entire repertoire.
Shakespeare Opera Theatre presented two American operas exploring themes of hypocrisy and deception — in a church!
Zémire et Azor, André-Ernest-Modest Grétry‘s riff on “Beauty and the Beast”, gets a rare outing in the Berkshires.
Malin Byström is a radiant water nymph in the Bayerische Staatsoper‘s house-of-horrors-set Rusalka.
Dmitri Tcherniakov‘s production of Der Freischütz in Munich may fire a few blanks, but the musicians are all on target.
The bonkers, bewildering Die ägyptische Helena begets a suitably lush musical and creative treatment at Bard SummerScape.
Just in time for this month’s theme of filth or dementia, a review of Terrence McNally‘s Master Class from Central City Opera.
The Bayerische Staatsoper’s summer festival wound down with Lotte de Beer’s darkly effective production of Gounod ’sFaust.
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