Emma Hoffman reports on the glimmers of ecstatic artistry in Lise Davidsen‘s all-Schubert recital at Carnegie Hall with James Baillieu.
Madison Schindele surveys the endlessly diverse offerings of Berlin’s 2026-27 opera season.
Iain Bell and Lydia Steier‘s Medusa stuns in Brussels.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
SoCal goes Scandi in two recent concerts, with one featuring an appearance by Lise Davidsen.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Samantha Hankey’s Composer is the standout in the Wiener Staatsoper’s episodically sublime Ariadne auf Naxos revival.
Lise Davidsen‘s first Isolde is only one of the highlights of Tristan und Isolde at the Liceu in Barcelona.
Anticipating the titanic arrival of Lise Davidsen‘s Isolde in New York in March, Parterre Box is thrilled to share a bit of her debut opposite Clay Hilley recorded in Barcelona last week.
Composer Philip Venables talks about queer utopias and bending gender and genre in The Faggots and Their Friends Between Revolutions which opens at the Park Avenue Armory this week.
Yannick Nézet-Séguin leads the Philadelphia Orchestra, Stuart Skelton, and Nina Stemme in a Tristan und Isolde for the ages
Lise Davidsen‘s singular Senta dominates the forces of the Norwegian National Opera in a roiling new recording of Der fliegende Holländer out now on Decca Classics
It may be blasphemy to admit—particularly this month—but usually I can either take or leave Donizetti’s serious operas. However, I love the composer in comic mode, so Chris’s Cache runs with that sentiment in offering three recordings of Don Pasquale.
Fidelio, which opened last week at the Metropolitan Opera, will always be relevant, I fear.
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
Not even howling winds and thunderous rain could dampen the excitement of Bay Area audiences to experience Norwegian soprano Lise Davidsen for the first time in the Bay Area at Zellerbach Hall Berkeley last Tuesday, 4 February.
Lise Davidsen is pregnant with twins!
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Christopher Corwin reviews Pablo Larraín‘s Maria
After an uneven gala performance of Tosca on Tuesday, I’m not sure what the Met means by “celebrating Puccini.”
The Metropolitan Opera chose the early August operatic doldrums in NYC to announce the renewal of Yannick Nézet-Séguin’s contract as music director through the 2029-30 season.
Lincoln Center is in full diva mode. Or at least that is what it seemed as I passed the line of posters outside Alice Tully Hall for the forthcoming Maria Callas biopic.
This July, Munich played host to hordes of football fans in town for the European Championship—and arguably the two finest working sopranos today.
A parterre box exclusive: a live recording of Lise Davidsen‘s first Judean princess
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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