Performance Reviews
Reviews of operatic, vocal, and classical performances at the Metropolitan Opera, Carnegie Hall, all across America, and around the world.
Reviews of operatic, vocal, and classical performances at the Metropolitan Opera, Carnegie Hall, all across America, and around the world.
The program for Jasmine Rice LaBeija’s concert as part of Works & Process at the Guggenheim on Wednesday, March 8 read a bit like a curriculum vitae.
This was a wonderful concert because MIchael Tilson Thomas approached every moment of it with an air of expansiveness and gratitude.
I can’t imagine anything more anxiety-inducing than being put in at last-minute to sing a role in a high-profile production at the Met.
Angel Blue‘s refulgent, lush soprano blooms as Violetta’s vocal lines broaden and soar.
Through a lucky coincidence of timing, I was able to catch up with Cat on a Hot Tin Roof, a play I adore, in two productions playing at the same time.
The Vienna Philharmonic brought along no star soloist for their three-night residency at Carnegie Hall this past weekend. Their programs didn’t include any commissions or flashy new works. The repertoire choices hewed closely to the core Austro-German corpus for which they are justly famous, including multiple works they had given in their world premieres.
Non-observant Jew that I am, my recent immersion into not one by two new plays—Pictures from Home on Broadway, and The Wanderers at the Roundabout—that very much live in that world was something of a double-whammy.
On the train ride home I was thinking that I don’t want to see or hear Norma ever again.
Cotton, a world-premiere song cycle commissioned by Philadelphia’s Lyric Fest, takes its audience on a journey through Black American history that extends from the Deep South to the contemporary urban landscape.
It seems that François Girard has been watching a little too much Star Wars lately. His new production of Lohengrin, which opened at the Metropolitan Opera Sunday afternoon, reduced Wagner’s opera to a knockoff space opera, full of hackneyed sci-fi tropes and B-rated futurist apologue.
Updating opera settings is, of course, expected; I’d wager in most houses more often than not it’s now the norm. Still, few in my experience have the specificity and local immediacy of Don Pasquale at the Academy of Vocal Arts.
What’s the status of the American Dream nowadays? Did it ever really exist? If it’s dead, why isn’t it gone?
On Saturday at Alice Tully Hall, Julliard 415, the school’s top-flight period-instrument ensemble, was joined by students from the Marcus Institute for Vocal Arts and Juilliard Drama for a rare semi-staging of King Arthur.
Ghost sex is part of the popular zeitgeist.
Baritone Will Liverman is becoming a real Renaissance man.
Now the opera world can have a taste of what an immersive opera looks like, as Opera Parallèle opened their spectacular world premiere of Everest: An Immersive Experience .
There is a moment about 75% of the way through the Rome Narrative where you can almost literally hear Tannhäuser’s stomach turn.
For anyone who thought that Downton Abbey, with its plot lines divided between the gentry and their faithful (or not-so) servants was somehow unique, that particular tale, and lo its many variations, has been told in one form or another since Pierre-Augustin Caron de Beaumarchais put quill to paper in 1778 with La Folle Journée, ou Le Mariage de Figaro.
Director Richard Jones’ well-traveled and visually arresting production of Humperdinck’s 1893 opera Hansel and Gretel has returned to Lyric Opera of Chicago after a 10-year absence.
Kurt Weill, Ira Gershwin, and Moss Hart’s 1941 musical Lady in the Dark is a psychoanalytical romantic comedy. It simultaneously mocks and takes seriously the power of looking inward to understand oneself, a process which can be silly, frustrating and life-changing in turn.
For me, Fedora is the perfect opera
What happens when you attend a performance and it doesn’t engage you?
Joyce DiDonato’s Eden immerses listeners within a centuries-spanning musical meditation that channels the majesty of our natural world.
Shortly before Tuesday’s performance of Salome at La Scala, I did something I rarely do: I took a mirror selfie.
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.
