A captivating Asmik Grigorian leads the Bayerishce Staatsoper‘s revival of its Holocaust-set Salome.
Austin Opera’s 2024 production of The Manchurian Candidate proved to be a daring and timely commentary on political power in America, shortly after the 2024 election, just as it had been before the 2016 election.
When it premiered at the Opéra Comique in 1875, Carmen shocked audiences with its frank depictions of female sexuality, the proletariat, and violence: subjects that have ensured the piece’s continued relevance and that have inspired numerous retellings and revisions.
It’s not hard not to feel jaded about Romeo and Juliet.
This Carmen, in other words, was somewhat less radical than its initial image suggested.
Chopping up the action and dutifully showing each plot point may work in a film but in an opera, where every piece of marginal dialogue must be set to music, it feels like a chore.
Gregory Spears’ latest opera Castor and Patience, with a libretto by former US Poet Laureate and Pulitzer Prize-winner Tracy K. Smith, was commissioned by Cincinnati Opera to celebrate its centennial season in 2020.
We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
Porgy and Bess, George Gershwin, Ira Gershwin and DuBose Heyward’s 1935 “folk” opera, graced the stage of Dutch National Opera for the first time last month, and it was resounding success from start to finish.
I mean, how often does one get to hear Bernstein’s gorgeous, rollicking, and varied score nursed by a full orchestra and the artistic resources of an opera company?
Washington National Opera continued a focus on recent works this season with Terence Blanchard and Michael Cristofer’s 2013 opera Champion on the life of boxer Emile Griffith.
Washington National Opera’s American Opera Initiative, now in its 5th year, keeps the opera flame alight at the Kennedy Center during the long winter stretch between mainstage WNO productions.
Saturday’s Washington National Opera premiere of a new version of Philip Glass and Christopher Hampton’s Appomattox had everything going for it but the opera.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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