Those monsters look like us
“This used to be a funhouse… but now it’s full of evil clowns / It’s time to start the countdown…. I’m gonna burn it down”
14 pieces since 2014 — in 8 roles, at 7 companies, most often at Metropolitan Opera.
“This used to be a funhouse… but now it’s full of evil clowns / It’s time to start the countdown…. I’m gonna burn it down”
A uniformly strong cast triumphs over a dull production of Don Carlo at the Dallas Opera.
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.
Saturday’s performance of Così fan tutte demonstrated that even the cool, acerbic wit of Mozart’s most controversial comedy can warm our hearts in these icy winter months.
The Bayerische Staatsoper’s summer festival wound down with Lotte de Beer’s darkly effective production of Gounod ’sFaust.
John Danaher on the world-premiere recording of Clémence de Grandval‘s wild and worthy Mazeppa, the latest release from the operatic archaeologists at Palazzetto Bru Zane.
Outdoor arena opera always seems faintly ridiculous.
A plodding La bohème in San Francisco never quite takes off
Matthew Travisano takes on Mimì’s Act III aria from La bohème — not that one, the other one — in the latest installment of the “Perspectives on an Aria” series
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
On Tuesday we got one of the Met’s inveterate classics, which meant yet another opportunity to gaze upon the old accessories: Donkey cart! Teal shawl! Fugly plaid slacks!
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