Yannick Nézet-Séguin, leading the Met Orchestra, and Joyce DiDonato continue their exploration of Mahler at Carnegie Hall.
Kaija Saariaho’s spectral, shattering Innocence makes its Metropolitan Opera debut.
Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
A Strauss rarity receives a ravishing concert performance at Seattle Opera.
Houston Grand Opera’s 2025 Breaking the Waves was absolutely my highlight of the year!
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
Antony and Cleopatra was an auspicious start to San Francisco Opera’s second century, a performance that seems to improve as I continue to think about it.
Soprano Erin Wall died in early October, a month shy of her 45th birthday; Trove Thursday remembers her with a 2012 broadcast of Kaija Saariaho’s shimmering L’Amour de Loin.
Wednesday night’s New York Philharmonic concert was a high-stakes performance for a number of reasons.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
Only the Sound Remains introduced Americans to the latest collaboration between dazzling Finnish composer Kaija Saariaho and hirsute metteur-en-scène Peter Sellars.
There was a lot expectation about the new opera by George Benjamin and Martin Crimp. Their previous collaboration, Written on Skin, was an enormous critical and public success, earning the work a place in the exclusive club of 21th century classics with selected works by Saariaho, Heggie and Birtwistle.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
Much like Wagner’s Tristan und Isolde, which launched the Met’s 2016-2017 season, Kaija Saariaho’s L’Amour de Loin is an opera about love and death.
“CanCon”, or Canadian Content, is always a concern in Canadian cultural discourse.
Few new operas have received the near-unanimous acclaim that has greeted Written on Skin since its first performance at the 2012 Aix-en-Provence Festival.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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