Do the locomotion
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.
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.
James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
At every turn, the preconceived notion of Trovatore was denied, right down to the boxing during the ballet.
Only the singers, led by Benjamin Bernheim, can salvage a dismal La Damnation de Faust at the Théâtre des Champs Elysées.
Ursula Sturgeon looks at the furry opera company HowlAria and discovers that maybe one man’s Callas recording collection is another man’s fursuit.
With Cesare’s old-school rules of war set spinning by Cleopatra’s Bollywood-inspired manipulations, a Da Capo aria has never felt more dangerous
Cavalleria rusticana and Pagliacci at Lyric Opera of Chicago are hysterical in all the wrong ways.
Pacific Opera Project’s high-spirited revival of Fra Diavolo is both therapy and an escape.
Grand Tier Grab Bag marks the Metropolitan Opera return of Daniele Rustioni with a zippy performance of the Royal Hunt and Storm from Les Troyens recorded in 2022 in Munich.
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
Barrie Kosky’s incredible production widened and universalized the ending.
The St. Louis Symphony Orchestra offered a rending reading of Britten‘s massive War Requiem with an eclectic trio of soloists.
A brief concert at the Frick Collection teases the multifaceted artistry of Davóne Tines
The women were the highlights of Washington National Opera’s militaristic Aïda
The opening of John Dexter‘s production of The Dialogues of the Carmelites (originally produced in English) is one of the most arresting and memorable images I have ever seen.
In a lifetime of opera going I suppose I have seen many transformative productions, but this recent one seems, in the light of the increasing disaster enfolding this country, uncannily pertinent.
Tobias Kratzer‘s time-traveling Arabella from the Deutsche Oper Berlin, now available on DVD, turns the opera’s problems into its strengths.
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