Salome sweeps in like a storm at the Lyric Opera of Chicago.
A new production of Parsifal at San Francisco Opera stirred something deep inside Michael Anthonio about how music soothes the soul
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
Pénélope at the Bayerische Staatsoper’s summer festival spotlights the crossroads between the nostalgic and the progressive.
The Met’s mostly successful revivals of The Queen of Spades and La bohème showcase the returns of Sonya Yoncheva and Corinne Winters
The term “narrative prosthesis” refers to the tendency for works of literature to use disability as the conflict upon which the whole narrative hinges. Herman Melville’s Moby-Dick is a quintessential example of “narrative prosthesis.”
We are a nostalgic sort, we opera lovers. Fortunately, Korngold’s Die tote Stadt, which arrived in concert form to Boston’s Symphony Hall last weekend, is all about nostalgia.
Washington National Opera rounded out its season opening weekend with a one-night-only performance entitled “Gods & Mortals: A Celebration of Wagner” the evening after the premiere of its new production of Fidelio.
This July, Munich played host to hordes of football fans in town for the European Championship—and arguably the two finest working sopranos today.
It has been a great season for prolific Bay Area composer Jake Heggie.
All in all, this was truly a superb achievement for San Francisco Opera and an auspicious first chapter in the Wagner opera journey with Eun Sun Kim.
It’s nasty world, Shostakovich seems to say, where life alternates between boring and terrifying.
To conclude its triumphant season, last week the Met Orchestra performed its annual Carnegie Hall concerts under music director Yannick Nézet-Séguin and once again performed superbly.
Trove Thursday’s belated contribution to last weekend’s Platinum Jubilee is a broadcast from Aldeburgh of Benjamin Britten’s Gloriana with Christine Brewer and Tom Randle as Elizabeth and Essex, an opera which premiered 69 years ago yesterday.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
Trove Thursday offers Shostakovich’s 1962 Katerina Izmailova with Australian soprano Marie Collier as its anti-heroine and Jon Vickers as her lover.
Original Director Richard Jones and revival director Benjamin Davis have created a staging that veers wildly between fascinating and fatally flawed.
Winter weather has taken a toll on the cast of Lyric Opera of Chicago’s revival of Puccini’s Madama Butterfly.
“Who knows what evil lurks in the hearts of men?” went the introduction to the 1940s radio program The Shadow, an apt description for the San Francisco Opera’s production of Rusalka.
Considering the size and the logistics for staging Les Troyens, every new production of Berlioz’s epic masterpiece is a special event.
Alban Berg’s compact yet potent oeuvre has long played an outsized role in shaping my understanding of music’s aesthetic evolution.
Siegfried is, in a sense, The Ring’s odd one out.
If Das Rheingold is an opera about infinitude, the illusory idea that the world is large enough to satisfy all of our desires, passions, and lusts, Die Walküre is an opera about scarcity.
It’s a fairly traditional post-Patrice-Chereau Ring, set during the Industrial Revolution.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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