Methinks the lady doth protestant too much Methinks the lady doth protestant too much

Old pros Gregory Kunde and Pier Luigi Pizzi anchor a new staging of Stiffelio co-produced by three theaters in Emilia-Romagna.

The best thing I saw in 2025 was <em>Stiffelio</em> The best thing I saw in 2025 was <em>Stiffelio</em>

Looking back, this Stiffelio in Piacenza is the one I cherish the most.

Visible storage Visible storage

Performances of Pittori fiamminghi and Madama Butterfly in picturesque Castell’Arquato were a fine way to honor Luigi Illica, the city’s native son

I’m a stranger here myself I’m a stranger here myself

In 1982 I saw Turandot at the San Francisco Opera, the year after I became an opera fan, and it was my first live opera.

Roman eye Roman eye

The newest Italian production of L’incoronazione di Poppea was a splendid example of how a 17th century opera can be performed in the best possible way today

The farce of destiny The farce of destiny

The chaos is nonstop, the comedy is broad and physical, and requires a large ensemble of singers who can execute Rossinian polysyllabic patter while taking pratfalls.

Another Hun bites the dust Another Hun bites the dust

Verdi’s Attila is hardly a rarity in Italy the way it is in the United States.

Rooting for the underdoge Rooting for the underdoge

“Take a good deal of trouble with it, because it is a fine subject, delicate and full of pathos.”

Ardori inospiti Ardori inospiti

The most recent Egyptian voluptuary of 2006 by our friend Franco has now been replaced by the most singularly spartan production of Verdi’s masterpiece I think I’ve ever seen.

Ne plus ultra Ne plus ultra

When LaCieca asked me to choose my favorite live recording, I had to think… and think.

Juan and two Juan and two

I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written.

Appearing nightly Appearing nightly

I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.

One Day more One Day more

There’s that old joke; What’s the difference between opera and sex? Punchline; you can have good sex.

Virgin territory Virgin territory

The chicken or the egg?

Enfin, elle est en notre présence Enfin, elle est en notre présence

Almost exactly one hundred years ago on March 18, 1912, the Metropolitan Opera gave its final performance to date of Armide.

Banal on the canal

At one time, the idea of a performance of La Gioconda conjured up images of over-the-top, competitive, passionate vocalism, and big personalities. As a vehicle for great singers (and especially a great protagonist), it was thrilling.