Aryeh Nussbaum Cohen shows that he’s at the top of a crowded pack of countertenors in two recent New York performances with Philharmonia Baroque.
Gregory Spears’s Sleepers Awake mystifies and delights at Opera Philadelphia.
Led by a mesmerizing Anthony Roth Costanzo, Satyagraha at the Paris Opera dispenses with historical particularities for something for more elusive.
Gregory Spears, whose newest opera Sleepers Awake opens this week at Opera Philadelphia, is reviving Romanticism
Akhnaten has lost none of its power or glitz at the Los Angeles Opera.
The dazzling and deeply moving Complications in Sue bodes well for Anthony Roth Costanzo‘s stewardship of Opera Philadelphia.
Global warming meets the cool factor in The Seasons.
“Protect the dolls, they say, but who really cares for them?” This question, posed by performer Mara Snip during the postlude of Neuköllner Oper’s 1000 Airplanes on the Roof, had a clear answer: Aliens.
A brief concert at the Frick Collection teases the multifaceted artistry of Davóne Tines
Opera Philadelphia’s Il viaggio a Reims in a nutshell: Hyperactive, confusing, and distracting from (and sometimes for) the singers? Yes. Imaginative, wildly entertaining, and musically rewarding? Absolutely.
In the pursuit of clowning, Anthony Roth Costanzo’s Galas may have lost sight of “the seriousness of the theme.”
The Comet/Poppea at this summer’s Running AMOC* festival at Lincoln Center is a thrilling, startling, deeply moving experience
The Jupiter Ensemble with Lea Desandre and Anthony Roth Costanzo offers sleek and sexy HIP inaugurates the Frick Collection’s new Stephen A. Schwartzman Auditorium
A fine Don Giovanni at Opera Philadelphia rounds out the company’s inaugural season under Anthony Roth Costanzo
Despite not being very happy with the state of the world (and the union) and not looking forward to the New Year, this past December I took in many festive holiday offerings including a pair of oratorios.
With Boston Lyric Opera’s largest opera production of the season already well behind us, the one-off semi-staged gala performance of Aïda held on Sunday at Emerson College’s Colonial Theatre to support the company’s vast education and community engagement apparatus, was a particularly enticing entry on the Boston cultural calendar.
The Richard Tucker Foundation Gala has always been a big annual celebration of the voice with an emphasis on big-voiced singers in big repertoire (not much Wagner usually, though…). Like so many reliable operatic institutions it has struggled for survival after the pandemic.
Two opera houses, both alike in dignity (but less so in resources and international fame) launched their seasons this week, making similar out-of-the-box choices: new works on edgy, contemporary themes.
But pressing questions remains: Why? Who is this Figaro for?
Opera has always been Orpheus-obsessed.
New York shall never be in need of another Messiah to assist to during the holiday season, but a new tradition is beginning to crystallize at the cavernous St. John the Divine to rival it.
On this day in 1946 the Metropolitan Opera presented La Gioconda on tour in Chicago.
On Saturday at Alice Tully Hall, Julliard 415, the school’s top-flight period-instrument ensemble, was joined by students from the Marcus Institute for Vocal Arts and Juilliard Drama for a rare semi-staging of King Arthur.
Philippe Jaroussky mentioned introducing his encores that he has not appeared in New York in 12 years.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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