Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
To celebrate the 100th anniversary performances of Turandot at the Met starting next week, Patrick Dillon gives a listen to seven versions of “Signore, ascolta!” for Perspectives on an Aria.
Madama Butterfly at Opera Colorado plays it safe — and never fully takes flight.
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa‘s bold production at the Lyric Opera of Chicago.
Washington National Opera offered a searing production of Robert Ward’s opera The Crucible, directed by WNO Artistic Director Francesca Zambello, as the second installment in the company’s next chapter.
Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
Confused dramaturgy dampens an otherwise sparkling night of singing in Opera Baltimore’s Lucrezia Borgia.
Juan Diego Flórez‘s charm and artistic sensibility remain as vibrant as ever, as seen at a recent Carnegie Hall recital.
Though perhaps showing its age, a storied production of La bohème nonetheless makes a welcome return to the Los Angeles Opera
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
My recollections of Hurricane Katrina, which made landfall in Louisiana twenty years ago today, come with a pair of odd bookends: it starts with Verdi’s Don Carlo and ends with Puccini’s Il trittico.
Christof Loy‘s Louise in Aix-en-Provence scratches at the urban– and operatic– unconscious
A plodding La bohème in San Francisco never quite takes off
West Bay Opera’s Otello punches well above its weight
Opera San José (OSJ) concluded its eclectic 41st Season with another first, Héctor Armienta’s Zorro, which received its Northern California premiere at the California Theatre on Friday, April 19th.
Matthew Travisano takes on Mimì’s Act III aria from La bohème — not that one, the other one — in the latest installment of the “Perspectives on an Aria” series
Before this weekend, I never thought I would want to leave an opera by Act I. The recent production of Puccini’s La bohème at the Lyric Opera of Chicago taught me that there’s a first time for everything.
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Washington Concert Opera returned on November 24th for its first show of the 2024-2025 season with a production of Puccini’s Manon Lescaut, another (relative) rarity from the composer following last year’s season-closing presentation of La rondine.
The plight of two women, each from different backgrounds, was on full display in San Francisco opera houses last week.
This archly traditional production of La bohème was a little shaky on opening night. It nevertheless had a full complement of sterling individual performances to take us on home.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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