In its first production since departing the Kennedy Center, the Washington National Opera presents a new adaptation of “King of Ragtime” Scott Joplin’s opera Treemonisha.
San Diego Opera’s Pagliacci puts a play within a play within a play.
A stylish and funny Così fan tutte at LA Opera is a pretty glam affair, according to Patrick Mack.
It surprises even me how some operas have eluded me in live performance even after lo, these many years. One of them is Gounod’s Roméo et Juliette.
Eastern Long Island remains surprisingly verdant even into the early fall.
I had some trepidation about attending Terence Blanchard’s opera Champion because the “sport” of boxing has never appealed to me.
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
“None of that sentimental crap, okay?”
Cotton, a world-premiere song cycle commissioned by Philadelphia’s Lyric Fest, takes its audience on a journey through Black American history that extends from the Deep South to the contemporary urban landscape.
We watch Peter Grimes being made into a deviant— a process that can take place through the mechanism of the law, but often happens outside of it through social processes.
Two hours of bedazzlement await you.
Like many composers of his generation, Ernest Chausson was enthralled by Wagner and he too turned to legend for his only opera, one that would consume him for final decade of his brief life.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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