A favorite Wagner performance from Rowna Sutin
This is one of my favorite operas, and visually and story telling-wise, you can’t beat this production.
This is one of my favorite operas, and visually and story telling-wise, you can’t beat this production.
A live broadcast of the opening night of the Rossini Opera Festival in Pesaro with Anastasia Bartoli and Lawrence Brownlee
One final appeal for you to share what most titillates you in the upcoming season for September’s The Talk of the Town
A performance recorded last month at the Festival International d’Opéra Baroque & Romantique de Beaune featuring Les Épopées
This performance represents a perfect alignment of piece, performer, director, and conductor – the epitome of Gesamtkunstwerk.
Tobias Kratzer‘s Das Rheingold in Munich kicks off a Ring for the post-secular age
In the midst of an eventful summer for the Arena di Verona, one important happening has flown under the radar: the return of Anita Rachvelishvili to her signature role of Carmen, of which Parterre Box features a sample of today
Valentin Schwarz‘s and Simone Young‘s Ring, in its final outing at Bayreuth, is dramaturgically messy and musically excellent.
Rita Gorr as Ortrud, Bayreuth, 1959, Cluytens.
Chris’s Cache previews the upcoming Bayreuth Baroque Festival with a rare recording of Cavalli’s Pompeo Magno
Iván Fischer leads an all-Hungarian team in a broadcast from the Proms
The superb 1958 Bayreuth Lohengrin, under the wonderful Cluytens.
The repertory company of Munich’s Gärtnerplatztheater brings sparkle to a goofy, summery L’elisir d’amore
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
Recency bias is in full swing here, but Glyndebourne’s first ever staging of Parsifal – and my first Parsifal – takes top prize for me.
In Lohengrin, populism comes to an apocalyptic end on the Bavarian stage
A performance recorded earlier this summer at The Santa Fe Opera
Peter Sellars‘s triple bill of Viennese modernism featuring Erwartung and a concert performance of The Raft of the Medusa stare down death at the Salzburg Festival
I went to hear Eileen Farrell conducted by Leonard Bernstein at the Philharmonic in 1970.
Trouble in Tahiti and A Quiet Place in a performance recorded last fall in London
I suppose Der fliegende Holländer is my favorite Wagner opera — a riveting masterpiece from start to finish, dramatically and musically.
A recent review of Olga Maslova as Aïda is as good a reason as any to share a clip of her fascinating Turandot
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