It’s such a joyous score, full of Italian warmth and humanity. Verdi’s late-stage, evergreen score is a constant source of joy.
A new recording of Boito‘s Nerone from Cagliari shows off an epic opera with fire and flamboyance
I have been utterly fascinated by the wildly intriguing choices of “comfort operas” these past few days. For me, Così fan tutte is my absolute first choice.
Dmitry Matvienko led a performance of Mussorgsky and Shostakovich at La Monnaie with meticulous rectitude.
This is not exactly a comfort “opera” as it is from Handel’s late oratorio Theodora which is sometimes staged as an opera.
Die ägyptische Helena isn’t even an opera I love so much as a whole.
I was first exposed to Hänsel und Gretel as a child, likely via The Metropolitan Opera’s 1982 PBS telecast.
What Opera Lafayette’s Dido and Aeneas lost in gravitas it gained in charm and specificity.
Brendan Latimer sits down with Francesca Zambello and members of the cast of Washington National Opera’s production of Aïda to discuss the complicated legacy of one of Verdi’s most beloved works and the tricky business of “inventing the truth.”
Grand Tier Grab Bag highlights two “Final Trios” from Der Rosenkavalier recorded just two days apart from one another.
My comfort opera after all these years remains Puccini’s Madama Butterfly, even with its sociologically problematical presentation of Japanese culture.
Anthony Hüseyin‘s eclectic recital in Berlin explores femicide in opera through a queer, nonbinary lens.
Beckmesser’s serenade never fails to amuse, particularly when sung by Thomas Allen in this ROH recording from 1997 under the late Haitink with Tomlinson, Gustafson, Winbergh, and Lippert.
Matthias Goerne‘s Die schöne Müllerin at Carnegie Hall offers a hoary and excessive collection of mannerisms and vocal tics that served the artist more than the music itself.
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
The color, power, and character are all there in this recording.
Buoyed by a strong cast, The Metropolitan Opera continues its autumn bel canto streak with a winning revival of Donizetti’s La fille du regiment.
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