Led by a mesmerizing Anthony Roth Costanzo, Satyagraha at the Paris Opera dispenses with historical particularities for something for more elusive.
Daring reimaginings of Cocteau and Wilde take the stage at the Los Angeles Philharmonic.
Akhnaten has lost none of its power or glitz at the Los Angeles Opera.
Sarah Kirkland Snider’s Hildegard gives the Middle Ages the Bridgerton treatment at the Prototype Festival.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
Vincent Lombardo pays poetic tribute to the 60-year-long career of Robert Wilson.
“Protect the dolls, they say, but who really cares for them?” This question, posed by performer Mara Snip during the postlude of Neuköllner Oper’s 1000 Airplanes on the Roof, had a clear answer: Aliens.
Francesco Filidei’s new opera The Name of the Rose struggles to bridge the past and the present in Milan
The Jupiter Ensemble with Lea Desandre and Anthony Roth Costanzo offers sleek and sexy HIP inaugurates the Frick Collection’s new Stephen A. Schwartzman Auditorium
In Munich, performances by 97-year-old Herbert Blomstedt and 32-year-old Thomas Guggeis show the city’s orchestral ensembles at their best
Opera has always been Orpheus-obsessed.
On this day in 1974 Verdi’s I Vespri Siciliani had its Metropolitan Opera stage premiere.
One wonders whether an obsession with metrics and measurement has the potential to create arts organizations that are more preoccupied with finding systems that quickly and efficiently tick the Arts Council’s boxes than with creating meaningful, impactful art.
The Met brought back 2019 smash Akhnaten last night, with nearly the exact same cast and creative team, and with nearly the same knockout effect of three years ago.
Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music and singing, it’s cordon bleu.
The cabaret at Saint Ann’s Warehouse delivered frothy fun and a dollop of pathos with Anthony Roth Costanzo and Justin Vivian Bond in Only an Octave Apart.
What options are there for the Met and the other performing arts organizations trying to envision restarting performances in the fall?
Friday evening’s Met premiere of Akhnaten was a resounding triumph and an outstanding testament to Philip Glass’s enduring operatic vision.
It seems a travesty that Philip Glass’s Akhnaten, one of the seminal works of the 20th by one of America’s most iconic composers, is only just receiving its Met premiere in 2019, some 35 years after its first performance!
Broadway star Kelli O’Hara stepped out of her comfort zone.
I hardly know where to heap my praise first.
Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.
While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.
Now it’s time to grab Albert Einstein for a lengthy swim.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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