Confused dramaturgy dampens an otherwise sparkling night of singing in Opera Baltimore’s Lucrezia Borgia.
It has been a great season for prolific Bay Area composer Jake Heggie.
Angel Blue‘s refulgent, lush soprano blooms as Violetta’s vocal lines broaden and soar.
Do you ever wonder how easy it is to invent a Christmas tradition?
A snarky commentator might dub last night at the Met “Boris of the divo hair flip” but that would do a disservice to a serious, often effective performance of the challenging original version of Mussorgsky’s masterpiece.
At the Metropolitan Opera on Friday night, an otherwise undistinguished Traviata was salvaged by an astonishing performance from Aleksandra Kurzak, whose Violetta was an incontrovertible triumph.
Iolanta was crowned on Thursday evening by Sonya Yoncheva’s haunting portrayal of the blind title character.
A wonderfully committed Ailyn Pérez and Gerald Finley at Saturday afternoon’s revival abetted by Emmanuel Villaume’s passionate conducting converted me to a Thaïs believer.
This was a Rosenkavalier that aspired to excellence and almost achieved it.
The creation of Kurt Weill’s The Eternal Road and its lately remodeled avatar, The Road of Promise, boiled down and premiered at Carnegie Hall Wednesday night by the Collegiate Chorale and the Orchestra of St. Luke’s, was an intricate process, far more interesting than the work itself.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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