The premiere recording of David T. Little’s What Belongs to You reveals a work of both tenderness and artistic tenacity.
Klaus Mäkelä unexpectedly joins the foray for The Cleveland Orchestra‘s performances of Benjamin Britten’s War Requiem.
Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
The St. Louis Symphony Orchestra offered a rending reading of Britten‘s massive War Requiem with an eclectic trio of soloists.
In Jacopo Peri’s seminal Euridice, the Newberry Consort and Haymarket Opera made a compelling case for putting you in the room where it happened.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
My recollections of Hurricane Katrina, which made landfall in Louisiana twenty years ago today, come with a pair of odd bookends: it starts with Verdi’s Don Carlo and ends with Puccini’s Il trittico.
Le nozze di Figaro in Santa Fe is a light and kindly revival while The Turn of the Screw is crisp and atmospheric
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.
Contrasting approaches to Regie duke it out in Cavalleria rusticana & Pagliacci and Rusalka in Munich
Joseph Caldwell produced this charming tale from a year spent in Italy on the Rome Prize from the American Academy of Arts and Letters.
Nigel Wilkinson reviews Kris Defoort‘s kaleidoscopic, unsettling new opera in Brussels.
Patrick Mack on the iconic Ethan Mordden‘s career and his first book on opera in 30 years – and it appears that time has mostly stopped in the Mordden manse.
Double double, toil and trouble, y’all, and happy spooky season from Slaylem. (It’s like Salem, but fun.)
Karim Sulayman’s intentions are to demonstrate links and roots, in themes musical and poetic, crossing every boundary of culture, religion, nationality, genre.
Finding Britten’s The Rape of Lucretia on the Academy of Vocal Arts calendar was both a pleasure and something of a surprise—the latter because the work is far from central repertoire, even in a conservatory.
With its sumptuous wood paneling, frescoed ceilings, and various Gilded Age trappings, the Park Avenue Armory’sBoard of Officers Room certainly is not a bad place to spend Valentine’s Day—even better when it plays host to equally sumptuous music-making.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
Welcome, beloveds, to the Jessye Norman Memorial Museum. I’ll be the docent for your tour today.
On this day in 1965 Montserrat Caballé and Sherrill Milnes made their Metropolitan Opera debuts in Faust.
Dame Ethel Smyth’s third opera, The Wreckers, opened at Houston Grand Opera on October 28 and runs through November 11.
We watch Peter Grimes being made into a deviant— a process that can take place through the mechanism of the law, but often happens outside of it through social processes.
In the month and a half leading to Bernard Haitink’s passing on October 21, my AirPods constantly channeled a musical festival of sorts centered on the Dutch giant’s expansive discography.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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