Shirin Neshat‘s Aïda in Paris is a typical instance of what happens when an artist is brought in to direct an opera.
Elina Garanca is back at the Met for the first time since 2020 — her Amneris is, in a word, sensational.
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
I had been hopeful that 2024 would end, if not on a high note, then one that was at least in tune.
Overall, this was a superb achievement and a thrilling season opener for the San Francisco Opera.
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
A perfect escape for a city laden with recent layoffs and job cuts coming into Holiday season
All in all, this was truly a superb achievement for San Francisco Opera and an auspicious first chapter in the Wagner opera journey with Eun Sun Kim.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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