I don’t know if I’ll ever hear as great a performance as René Pape‘s Gurnemanz.
A Missa Solemnis to celebrate 125 years of Boston’s Symphony Hall was sophisticated and subdued.
This July, Munich played host to hordes of football fans in town for the European Championship—and arguably the two finest working sopranos today.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
Few operas scream “summertime easy listening” like Pfitzner’s Palestrina—all 225 minutes of it—so Trove Thursday presents a performance from the Royal Opera’s 1997 New York visit conducted by Christian Thielemann.
I never imagined I’d see such a rote park-and-bark Wagner production created in 2020!
“Die Zauberflöte is an opera!” “No, it’s the first musical comedy!”
A hefty thunderclap shook Tanglewood’s Koussevitzky Shed just as Andris Nelsons raised his baton for the third act of the weekend’s concert Die Walküre.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
Now it’s time to grab Albert Einstein for a lengthy swim.
The wild tempest that whipped and drenched the audience as it exited the Met after Tuesday’s season premiere of Wagner’s Der Fliegende Holländer mirrored the finer features of the evening.
Our Own Jungfer Marianne Leitmetzerin gets serious for a moment, or rather for about an hour and a half, with a performance of Beethoven’s Missa Solemnis led by Christian Thielemann.
L’incoronazione di Poppea nearly disappeared from the stage completely after its 1642 Venice premiere and a Naples revival in 1651.
Die Entführung aus dem Serail has been a bit of an unruly child recently, with productions by Neuenfels and Bieito dividing audiences and inspiring critics like Heather MacDonald to lengthy manifestos.
The symbolism and themes of suffering and redemption in Parsifal have provided catnip for more than a few oddball stagings filled with Regie excesses.
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