Greek National Opera’s Medea in the ancient theater at Epidaurus is an intermittently rewarding exercise in nostalgia.
The countertenors conquer the day in Handel‘s Giulio Cesare in Egitto at the Deutsche Oper Berlin.
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!
Salome sweeps in like a storm at the Lyric Opera of Chicago.
Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
Sir Simon Rattle and the Bavarian Radio Symphony Orchestra strike (almost) all the right notes in their new recording of Mozart’s Idomeneo.
With Cesare’s old-school rules of war set spinning by Cleopatra’s Bollywood-inspired manipulations, a Da Capo aria has never felt more dangerous
Seeing Sondra Radvanovsky as Medea at Lyric Opera of Chicago sprawled across the floor, soaked in her children’s blood, is proof that we’re witnessing an utterly haunting singer-actor.
As I mentioned in my last article (on the subject of Calixto Bieito’s production of Das Rheingold at the Paris Opera), in what the French might call une histoire belge, La Monnaie’s Ring cycle started with Romeo Castellucci as its director, and is now ending with Pierre Audi.
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Il trovatore may be famous for its melodramatic plot and unlikely mistaken identities, but surely even Verdi and Cammarano couldn’t have imagined the chaos of a performance featuring two Manricos and two Leonoras.
After an uneven gala performance of Tosca on Tuesday, I’m not sure what the Met means by “celebrating Puccini.”
Rare is the revival of Il trovatore that boasts five first-rate singers, and such an occasion should be treasured. And so, at the Met last Saturday, it was.
When asked to express some “thoughts” here about Verdi’s Il trovatore, my immediate thought was “hmm… not a lot to think about there.”
Lincoln Center is in full diva mode. Or at least that is what it seemed as I passed the line of posters outside Alice Tully Hall for the forthcoming Maria Callas biopic.
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
There were, of course, other Chénier recordings beyond the truly great ones…
With its sumptuous wood paneling, frescoed ceilings, and various Gilded Age trappings, the Park Avenue Armory’sBoard of Officers Room certainly is not a bad place to spend Valentine’s Day—even better when it plays host to equally sumptuous music-making.
Power struggles, prejudice, feuds and revenge abound in San Francisco at the moment.
This was by far my most satisfying experience with Pelléas et Mélisande for a multitude of reasons and I encourage anyone who’s even mildly curious to find their way to the Music Center for a very rich experience.
Angela Meade, reportedly flown in at the very last minute to take on the role of Norma, absolutely triumphed, pulling out all the stops to deliver a commanding performance that should, indeed, go down in history.
On the train ride home I was thinking that I don’t want to see or hear Norma ever again.
For me, Fedora is the perfect opera
A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore. Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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