Onegin, off again
The Ralph Fiennes production of Eugene Onegin at the Paris Opera is just…fine.
The Ralph Fiennes production of Eugene Onegin at the Paris Opera is just…fine.
George Frideric Handel (born 341 years ago on Monday) composed over 40 operas including many masterpieces, but his Giulio Cesare is the one that everyone knows best.
The St. Louis Symphony Orchestra under conductor Stéphane Denève plays up the schtick in a concert performance of The Magic Flute – and obscures Mozart’s magic in the process.
“Soprano Aleksandra Kurzak will sing the role of Cio-Cio-San in Puccini’s Madama Butterfly, replacing Sonya Yoncheva, who has withdrawn from the run due to family reasons,” says the Met press office.
Joyce DiDonato makes the most of Kevin Puts‘s trite new Emily Dickinson monodrama.
That Trump opera at the Staatsoper Hamburg is lazy activism at its finest, we fear.
An excellent Věc Makropulos at Opéra de Lille makes the case for the vitality and necessity of France’s regional companies.
For all his undeniable precision and discipline, I still find Toscanini’s tempi rushed and unyielding and his lack of rubato a chilly turnoff.
San Diego Opera presents a strongly directed and cast revival of Il barbiere di Siviglia.
Caitlin Vincent‘s new book Opera Wars paints a persuasive picture of the problems facing opera today, though her solutions leave something to be desired.
What is unmissable for you next season at Lincoln Center?
In Modena, Teodor Currentzis‘s Ring ohne Worte foregoes words but not gimmickry.
While the three leads do sing the material well, there has been a glut of recordings since then which are more complete and at least as well sung.
Ahead of his performance in Les pêcheurs de perles with Washington Concert Opera, Parterre Box features the unusually elegant Anthony León performing Mozart.
Marina Rebeka comes tantalizingly close to triumph in Cherubini’s Médée at Théâtre des Champs Elysées.
It was many decades ago that I first listened to the Solti Ring Cycle.
Hoping for a “Tristan for the ages” in New York next month, John Danaher considers five versions of Tristan’s Act III “Muss ich dich so verstehn” for “Perspectives on an Aria.”
Under the baton of Nicholas McGegan, Philharmonia Baroque Orchestra & Chorale proves they have a magic touch in a program of Rameau and Handel.
Austin Opera’s moving production of Fiddler on the Roof grounds itself in lived tradition, to great effect.
Karajan’s 1959 Aïda was once treated like gospel, a wall of plush Vienna Philharmonic sound and star power that critics dutifully genuflected before.
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