Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
The Ralph Fiennes production of Eugene Onegin at the Paris Opera is just…fine.
With Siegfried, the directorial vision of the Paris Opera‘s Ring cycle finally takes root.
Franz Welser-Möst leads a rigorous, if emotionally staid, performance of Verdi‘s Requiem at Carnegie Hall.
“When there’s so much to get right, unsurprisingly a lot can and, as we all know, does go wrong.”
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
Carmen Paddock and Mr. Portafiori aren’t getting the hype behind Ivo van Hove, Krzysztof Warlikowski, and Calitxo Bieito
Les Brigands at the Paris Opera is an expensive joke that never lands
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
Nigel Wilkinson takes on the first installment of the Paris Opera’s new Calixto Bieito-directed Ring Cycle
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Ludwig van Beethoven’s “rescue opera” Fidelio was presented by San Francisco Opera as their first new production of the season last Thursday in reinterpreted fashion.
Trove Thursday presents a double dose of the Verdi Messa da Requiem performed by the Los Angeles Philharmonic.
“Tame” seemed to be the appropriate adjective to describe San Francisco Opera’s Carmen.
We humans tend to dislike uncertainty, therefore there is something comforting going to opera revivals; you know exactly what you are going to get.
The subject of timidity has been in my thoughts in these waning days of February 2017. One would almost think there had been some big announcement recently, preceded by a series of smaller ones, to turn a U.S.-based opera fan’s thoughts in this direction.
The big news on Van Ness Avenue, it goes without saying, is Calixto Bieito’s operatic debut on these shores.
What we really need, some seem to believe, is fuller representation of the 19th century.
Two months after my last visit to this season’s sixteen-performance run of Puccini’s Turandot, I returned eager to witness the latest chapter in the sporadic Met career of Nina Stemme. Rising stars Anita Hartig and Alexander Tsymbalyuk also appeared in their roles for the first time at the Met, so Monday evening turned into a…
Mezzo Rinat Shaham takes a short break from being the world’s busiest Carmen and rehearsing for the theatrical concert “The Sorrows of Young Werther” to dish with your doyenne.
Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich.
A problem with scheduling an opera-intensive trip is that you don’t always hear and see the shows in optimum order.
All those who have been in a rage since the news broke this week that the Metropolitan Opera has invited Calixto Bieito to stage Verdi’s La Forza del Destino can relax and embrace the Juilliard Opera’s new Le Nozze di Figaro which opened Friday night.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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