Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle both use themes of vision and revelation to ask compelling questions about knowledge, responsibility, and gender. 

Iolanta was crowned on Thursday evening by Sonya Yoncheva’s haunting portrayal of the blind title character.

When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.

At tonight’s performance of Aida at the Met, the Triumphal Scene horses suddenly panicked and tried to bolt from the stage. I can’t say I blame them.