Malin Byström is a radiant water nymph in the Bayerische Staatsoper‘s house-of-horrors-set Rusalka.
The bonkers, bewildering Die ägyptische Helena begets a suitably lush musical and creative treatment at Bard SummerScape.
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
Samantha Hankey’s Composer is the standout in the Wiener Staatsoper’s episodically sublime Ariadne auf Naxos revival.
A classic German fairytale gets a modern update at the Staatsoper Berlin.
Tobias Kratzer‘s time-traveling Arabella from the Deutsche Oper Berlin, now available on DVD, turns the opera’s problems into its strengths.
Claus Guth mines urgent and contemporary commentary from Die Liebe der Danae in Munich.
Madison Schindele on loving Die Frau ohne Schatten as a “woman of childbearing age”
A recent conversation with a friend who has loved Die Frau ohne Schatten for twice as long as I have been alive revealed that we both had some unresolved questions about the plot.
Tonight’s chat is late (10:00 PM EDT / 7:00 PM PDT) and based on a pay-per-view event, but….
The current Met revival of Der Rosenkavalier, while not perfect, has much to feel joyful and excited about.
Richard Strauss’ “Bucolic Tragedy in One Act” Daphne is one of his most beautiful and most frustrating works.
On this day in 1979 the Metropolitan Opera presented a new production of Verdi’s Don Carlo.
It is perhaps a misperception to suggest that Die Schweigsame Frau is stronger in the uncut version.
Has there ever been a more perfect opera to watch after a breakup than Ariadne auf Naxos?
Saturday night’s Rosenkavalier at the Met was an evening of excess — beautiful singing, sensitive acting, elaborate sets, and an unfortunate business that mars Robert Carsen’s otherwise excellent production.
A sense of celebration was definitely in the air last Thursday at the Vienna State Opera.
The Wiener Staatsoper commemorated its 150th anniversary with a musically sensational presentation of Richard Strauss’ Die Frau Ohne Schatten.
Odyssey Opera’s Ägyptische Helena was a beautifully executed production of a flawed opera.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
No other singer of Die Amme approaches the towering standard set by the German mezzo Tanja Ariane Baumgartner.
Patrice Chéreau‘s Elektra brims with ideas beyond its eschewing of the opera’s standard, hysterical trappings.
Beautiful singing, thoughtful staging, lovely melodies… a perfect escape from daily life.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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