Madison Schindele surveys the endlessly diverse offerings of Berlin’s 2026-27 opera season.
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
Are today’s stars enough to sustain Andrea Chénier?
The Met’s mostly successful revivals of The Queen of Spades and La bohème showcase the returns of Sonya Yoncheva and Corinne Winters
Don Carlos returns to the Opéra National de Paris and it’s an unusually happy occasion
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.
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Two of France’s leading Early Music ensembles recently visited New York City to perform music by some of the 17th century’s leading composers.
Angela Meade, reportedly flown in at the very last minute to take on the role of Norma, absolutely triumphed, pulling out all the stops to deliver a commanding performance that should, indeed, go down in history.
On the train ride home I was thinking that I don’t want to see or hear Norma ever again.
For me, Fedora is the perfect opera
Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.
When was the last time the Metropolitan Opera mounted a new production that was musically outstanding yet the direction and/or design mostly sucked?
In the last weeks of January, as the Metropolitan Opera season wound to a close (prior to the winter hiatus) two striking sopranos were thrust into the limelight.
Teresa Stratas turned 83 yesterday and Trove Thursday features one of the recent past’s most interesting yet frustrating artists in two rare broadcasts.
Now, through the auspices of the Metropolitan Opera, we have Sonya Yoncheva—and if anything, the diva-dom has been kicked up a notch!
Has anything positive happened to the performing arts since the plague engulfed us nearly ten months ago?
Cavalleria Rusticana began Pietro Mascagni’s career with a bang, and despite a number of fine subsequent works the composer never again achieved the same lasting success that he had with his first.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
To mark Beverly Sills’s 90th birthday (May 25, 1929) “Trove Thursday” offers the late diva’s acclaimed Massenet heroine opposite her ideal Des Grieux, Alain Vanzo.
Iolanta was crowned on Thursday evening by Sonya Yoncheva’s haunting portrayal of the blind title character.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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