Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Gulfshore Opera’s vigorous production of Carmen answers a familiar question.
Offenbach‘s Robinson Crusoé is salvaged from obscurity.
Pacific Opera Project’s high-spirited revival of Fra Diavolo is both therapy and an escape.
Anthony Hüseyin‘s eclectic recital in Berlin explores femicide in opera through a queer, nonbinary lens.
Wolf Trap Opera concluded its 2025 summer season last month with a production of Carmen that was vocally strong, though not entirely dramatically satisfying, amid challenging weather.
Christof Loy‘s Louise in Aix-en-Provence scratches at the urban– and operatic– unconscious
A double bill of rare Bizet works in Paris is not something any of us needs to do more than once
When my editor suggested to me a round-up of my favorite recordings of Jacques Offenbach’s Les Contes d’Hoffmann I was très, très, intrigued.
Erin Morley closed Vocal Arts DC’s season on May 13th with a recital in the Kennedy Center’s Terrace Theater, partnered by pianist Gerald Martin Moore.
On May 2, Rebecca Herman‘s conceptualizing of Carmen was a significant departure from the traditional depiction of a marginalized “other,” maintaining a traditional staging in Seville.
June is long gone. It was truly a month of excellence and exuberance here in San Francisco, coupled with cozy and inviting weather, as if to make up for the extended winter.
Following the great success of its new piece The Factotum, Lyric Opera of Chicago returned to the tried and true with the audience-pleaser Carmen in an equally tried and true 20-year old Lyric production that has stood the test of time.
I’ve enjoyed these streamed recitals, warts and all, and always appreciate the chance to watch performers let their hair down, so to speak.
With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
The New York Gilbert And Sullivan Players is giving its umpteenth production of The Mikado through next Sunday at the Kaye Playhouse, and the show remains frisky and first rate.
“Tame” seemed to be the appropriate adjective to describe San Francisco Opera’s Carmen.
The finals on Sunday seemed a bit like the modern-day operatic equivalent of the Roman colosseum.
Although Gustav Mahler never wrote an opera, his colossal Eighth Symphony “The Symphony of a Thousand” may give us some glimpses of what a Mahler opera might have sounded like
L’Arlesiana in a vibrant live performance from a dozen years ago with Giuseppe Filianoti, Latonia Moore and Marianne Cornetti.
The Verdi Chorus celebrated their 35th anniversary with their spring concert weekend entitled The Force of Destiny last Saturday night and Sunday afternoon.
Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.
Georges Bizet’s Les pêcheurs de perles has been knocking steadily at the door of the standard repertoire now in this country for quite some time.
When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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