Stop me if you’ve heard this one
Louis XVI, Marie-Antoinette, and a slew of their members of court are hanging out in the afterlife…
17 pieces since 2011 — in 11 roles, at 6 companies, most often at Metropolitan Opera.
Louis XVI, Marie-Antoinette, and a slew of their members of court are hanging out in the afterlife…
My first experience with John Corigliano’s music was in high school with the ear and mind blowing score he wrote for Ken Russell’s film Altered States.
As Despina in the Metropolitan Opera’s new production of Così fan tutte, Kelli O’Hara injects much needed vitality into an otherwise lethargic evening.
Verdi’s Falstaff is a brilliantly written opera: funny, with a complex ability to operate across minutely shifting registers of farce and lyricism. It needs, ideally, a production and cast capable of executing both comedy and drama, irony and sincerity—often concurrently. In its current Met revival, happily, Falstaff has everything it needs.
Claus Guth mines urgent and contemporary commentary from Die Liebe der Danae in Munich.
Anna Netrebko‘s Manon was deeply unforgettable for its wide scope, control, and incredible virtuosity.
Is Manon Lescaut a cold, clinical tale of the splendors and pitfalls of transactional sex, or is it a romantic Italian opera at its most lush and melodic?
The Met is on it with something something woker than woke: a noirish psychodrama of a frigid hysteric who seeks redemption via Freudian analysis!
“Trove Thursday” offers a broadcast from last year’s London world premiere of Nico Muhly’s Marnie.
The Met’s recent Ariadne auf Naxos and Elektra combo left me wanting more and more Richard Strauss, so Trove Thursday offers a complete Capriccio with Jonas Kaufmann (his one-and-only Flamand) and Christopher Maltman vying for Soile Isokoski.
Christopher Maltman created a fun, coherent, often whimsical journey exploring the animal kingdom through a selection of animal songs.
The unevenly-beating Heart unfortunately proved less than the sum of its deluxe parts.
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
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