Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
West Side Story opened LA Opera’s 40th anniversary season with fury and flair
Rigoletto at The Santa Fe Opera is a near miss.
By the time the curtain rose on Verdi’s Luisa Miller last Sunday in Washington Concert Opera’s final show of the season, the originally announced line-up was about as accurate as a federal agency org chart from February.
While the Met’s Mozart-lite holiday production of The Magic Flute kept the eyes entertained with spectacular sets and costumes, the scattershot casting and lack of musical seriousness dragged down this opera for beginners.
It surprises even me how some operas have eluded me in live performance even after lo, these many years. One of them is Gounod’s Roméo et Juliette.
Eastern Long Island remains surprisingly verdant even into the early fall.
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
The Metropolitan Opera National Council Auditions were one of the last events I attended in person in 2020. Now, one year on, the competition has returned, this time in an online format, and this time with an entirely new name: The Metropolitan Opera Eric and Dominique Laffont Competition, after the event’s new sponsors.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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