Frieze frame
Shirin Neshat‘s Aïda in Paris is a typical instance of what happens when an artist is brought in to direct an opera.
Roman Burdenko
7 pieces since 2024 — in 4 roles, at 6 companies, most often at Metropolitan Opera.
7
pieces
4
roles
6
companies
3
years
By role
Role Amonasro
Ritorna vincitrice
Elina Garanca is back at the Met for the first time since 2020 — her Amneris is, in a word, sensational.
Nilsson ratings
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
Role Don Ferdinand
Troth or dare
Chris’s Cache would argue that Prokofiev’s Betrothal in a Monastery is a much more enjoyable alternative to the pandemic-canceled Barrie Kosky The Fiery Angel
Role Michele
Un paio in tre
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
By Christopher Corwin and Andrew Lokay
14 comments
Three ages of woman
Asmik Grigorian’s scorching turn in Il trittico in Paris has Nigel Wilkinson wondering, ‘what is it that makes Americans so weepy?’
Role Tomsky
The discreet charm of the bourgeoisie
This July, Munich played host to hordes of football fans in town for the European Championship—and arguably the two finest working sopranos today.
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).