Shirin Neshat‘s Aïda in Paris is a typical instance of what happens when an artist is brought in to direct an opera.
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.
Elina Garanca is back at the Met for the first time since 2020 — her Amneris is, in a word, sensational.
In the five short years that I’ve been in New York, I have seen that crusty old Franco Zeffirelli production of La bohème more times than I can count on one hand. And there are certainly times when that peeling mise-en-scène really shows its age.
Old opera productions at the end of their performing life can be sad affairs.
All things were, indeed, made new again, when Boston’s venerable Handel & Haydn Society brought Mozart’s Le nozze di Figaro to the stage, their first time doing so in its entirety, as their 2,576th concert on Thursday.
It’s an old chestnut of a joke that applies even more to opera than to the theatre: A veteran actor is on his deathbed.
Yannick Nézet-Séguin’s “Music of Faith” with the Philadelphia Orchestra was a sensational concert, perhaps the best I’ve heard in more than a season.
Two productions at the Aix-en-Provence festival shared one look.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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