Jennifer Holloway, star of Salome at the Lyric Opera of Chicago, talks with Christina Colanduoni about re-launching her career as a soprano and how her Salome is “just trying not to disappear under everybody else’s rule.”
Salome sweeps in like a storm at the Lyric Opera of Chicago.
Nearly three years after the premiere of François Girard’s Lohengrin at the Met, Parterre Box looks back at the production with a duet from Piotr Beczala and Elena Stikhina.
A high-drama Vanessa by the Boston Symphony Orchestra offers something to believe in.
Valentin Schwarz‘s and Simone Young‘s Ring, in its final outing at Bayreuth, is dramaturgically messy and musically excellent.
During the 1970s, Stephen Sondheim composed Company, Follies, A Little Night Music, Pacific Overtures and Sweeney Todd–five richly varied masterpieces of musical theater in a nearly miraculous burst of creativity.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
Faith. The title of this fourth and final chapter of Adam Guettel’s Myths and Hymns made me pause for reflection.
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
It’s a place where the one thing you can expect is the unexpected. The place is… Philadelphia?
Camille Saint-Saëns was such a brilliant, facile musician that pals like Wagner and Liszt felt a distinct schadenfreude when he suffered composer’s block.
Vocal glamour in abundance highlighted the opening performance of LA Opera’s Il barbiere di Siviglia on November 29 at the Dorothy Chandler Pavillion, with much buzz attendant on the company debuts of Rossini experts Juan Diego Flórez and Joyce DiDonato. Adding excitement was the Figaro of Nathan Gunn, who played with Errol Flynn panache, and…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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