Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
Brett Dean‘s Of One Blood casts a well-trodden Tudor tale in a poignant, new light.
Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await him.
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
Before her one-woman La voix humaine with the New York Philharmonic, Barbara Hannigan talks to Kevin Ng about her career, her artistry, and whether or not there’s a voice on the other line.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
Music Director Eun Sun Kim is at the center of the repertory, and a long Wagner arc is now officially underway
“When there’s so much to get right, unsurprisingly a lot can and, as we all know, does go wrong.”
“Call me traditional, but I want to see a silver platter!”
Matthew Polenzani charms the pants off of Philadelphia.
Big voices overwhelm Claus Guth‘s toothless staging of Khovanshchina at the Berlin Staatsoper.
As Messiah season begins, Christopher Corwin reports on two of Handel’s forays into the Old Testament.
Jonas Kaufmann has a new lieder album called Doppelgänger, but the contents of the album vary depending on how you purchase it.
Claus Guth mines urgent and contemporary commentary from Die Liebe der Danae in Munich.
A new recording by the London Symphony Orchestra is the latest landmark in a spring full of Janácek‘s Jenufa
Cameron Kelsall reports on a transcendent Jenufa from the Cleveland Orchestra
Ahead of tomorrow’s Live in HD, Michael Steinberg talks Leonore, Salome, and the “endemic misogyny” of Claus Guth‘s new production
Elza van den Heever and Peter Mattei (and the stage elevator) elevate an assertive, if not definitive, new Salome at the Met
Pascal Dusapin‘s dynamic and demanding traversal of Dante‘s Commedia arrives at the Paris Opera
Back to Rameau again this week with Samson at the Opéra Comique, my third Rameau production in as little as three months, after Les Fêtes d’Hébé in the same house, and Castor et Pollux at the Palais Garnier.
Larry Wolff continues his musings on Verdi’s varied career, this time over Giovanna d’Arco at the Teatro Regio in Parma
Revivals of Falstaff in Milan and Don Carlo in Naples have Larry Wolff thinking across the six decades of Verdi‘s career
Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars‘s new production of Rameau‘s Castor et Pollux in Paris.
What can you say, other than that everything was fab?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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