San Diego Opera presents a strongly directed and cast revival of Il barbiere di Siviglia.
A high-drama Vanessa by the Boston Symphony Orchestra offers something to believe in.
The Amazing Adventures of Kavalier & Clay was, somehow, a fun night at the opera—just not one that felt specifically operatic.
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.
After an uneven gala performance of Tosca on Tuesday, I’m not sure what the Met means by “celebrating Puccini.”
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.
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
A perfect escape for a city laden with recent layoffs and job cuts coming into Holiday season
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.
David McVicar’s 2017 production of Tosca returned to the Met on Tuesday night, with an able and watchable, if not transcendent cast.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
Sondra Radvanovsky was a force of nature as Tosca on Thursday night at the Met.
Elina Garanca’s glorious Marguerite transformed La Damnation de Faust into the Met’s first essential must-see of the year.
Zelmira, a work of 1822, was the last of the eight operas Rossini composed for the Teatro San Carlo in Naples, then the largest opera house in Italy—perhaps in Europe.
Sondra Radvanovsky changed my opinion of her through a single performance—I’ll never think of her the same way again; the power of her singing overwhelmed my previous impressions.
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
Opera Philadelphia ended its season with Le Nozze di Figaro, Friday, and it will play May 3, 5, and 7—a matinee. Figaro is considered by most to be one of the few perfect operas and although it’s perhaps too easily encountered in routine run-throughs, there are usually rewards in seeing it.
Friday’s season premiere at the Met of Donizetti’s opera about the doomed Scottish queen proved surprisingly satisfying and a genuine success for Sondra Radvanovsky.
As a whole, the evening seemed forced and a bit dispiriting.
La bohème is such a popular romantic opera that hardly anyone ever notices that Mimì and Rodolfo undergo what in modern terms would be called speed dating.
Ambiguity. That’s the theme of the operas of Benjamin Britten (ennobled as Baron Britten of Aldeburgh).
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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