Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
Nearly three years after the premiere of François Girard’s Lohengrin at the Met, Parterre Box looks back at the production with a duet from Piotr Beczala and Elena Stikhina.
The St. Louis Symphony Orchestra offered a rending reading of Britten‘s massive War Requiem with an eclectic trio of soloists.
Wolf Trap Opera kicked off its summer season with an inventive production of Wolfgang Amadeus Mozart’s Le Nozze di Figaro inspired by Pablo Picasso that showcased up-and-coming singers.
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.
Korngold‘s opera in a live broadcast from Boston
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.
Judith Malafronte sits down with bass David Leigh who debuts as Rocco in Washington National Opera’s production of Fidelio next week
Mahler’s 8th Symphony is an enormous and enigmatic work.
Needing a Mozart palate-cleanser after the recent misbegotten Marriage of Figaro, I went back more than two decades for a Houston Così fan Tutte featuring then-rising Americans Christine Goerke, Joyce Di Donato, Richard Croft, and Nathan Gunn as the confused lovers.
Love makes fools of us all – that seems to be the theme of this summer’s Glimmerglass Festival.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
I watched the finals for this year’s George and Nora London Foundation competition and would like to offer, if not a traditional review, a brief roundup of who I found exceptionally watchable and whom I think you, dear parterre boxers, should watch out for in the next few years.
The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
Here’s an update for those keeping up with the Lohengrin casting sweepstakes at the Met.
I can’t imagine anything more anxiety-inducing than being put in at last-minute to sing a role in a high-profile production at the Met.
It seems that François Girard has been watching a little too much Star Wars lately. His new production of Lohengrin, which opened at the Metropolitan Opera Sunday afternoon, reduced Wagner’s opera to a knockoff space opera, full of hackneyed sci-fi tropes and B-rated futurist apologue.
It doesn’t get more classic than John Dexter‘s Dialogues des Carmélites.
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
If it is true that there are few respectable ways for people over 40 without small children to celebrate Halloween, a performance of Richard Strauss’ pioneering horror opera Elektra belongs on the short list.
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.
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
The Boston Symphony and Alban Berg’s “Wir arme Leut” spread musical riches at Carnegie Hall.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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