The Bayerische Staatsoper’s Ring cycle scores another triumph with Tobias Kratzer’s take on Die Walküre.
Madison Schindele surveys the endlessly diverse offerings of Berlin’s 2026-27 opera season.
Christof Loy’s production of Pablo Luna’s gender-bending Orientalist farce Benamor proves to be irresistible.
Death is the prima donna in this opera, and Herheim doesn’t let you forget it.
A starry cast is hampered by Christof Loy‘s dour production of Rusalka in Barcelona
Washington National Opera rounded out its season opening weekend with a one-night-only performance entitled “Gods & Mortals: A Celebration of Wagner” the evening after the premiere of its new production of Fidelio.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
In the opera world, one of the pieces that underwent a multitude of changes in its reception was undoubtedly Richard Wagner’s longest and most Germanic opera, Die Meistersinger von Nürnberg.
Tannhäuser pales beside the other great Wagnerian operas in the degree to which it has innovated the Regisseur’s vocabulary for set design and dramaturgy.
What happens in Karlsruhe stays in Karlsruhe!
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
“I am an artist first, but also Catholic and homosexual.”
Like most directors of this opera this century, David Alden is keen to outline the helplessness of women in the face of 19th century patriarchy.
San Francisco Opera opened their 2018-19 Season Friday with a double bill of Italian verismo operas, Cavalleria rusticana and Pagliacci, which made a welcome return to War Memorial Opera House after 15 years.
Stefan Herheim productions may be many things, but they’re always theatrical.
No amount of scholarly diligence has kept Les contes d’Hoffmann from being the messiest of all standard-repertory messes.
Met audiences might have to wait a very long time for Die Meistersinger von Nürnberg.
Today’s Rusalka video overview covers filmed performances of Dvorák’s opera since 2010.
>What does a great opera production do, and what does a bad production fail to do?
I am happy to finally add Les contes d’Hoffmann to the playlist in a Salzburg performance from 2003 with Neil Shicoff in one of his parade roles.
What is surreal, symbolic, and generally mysterious in the dramatic arts can get a bad rap.
The winter 2014 final run of the Met’s first/only Rusalka production (a new one is scheduled in a few seasons) seemed both a nod to the theater’s past and a hint of its future.
Mezzo Rinat Shaham takes a short break from being the world’s busiest Carmen and rehearsing for the theatrical concert “The Sorrows of Young Werther” to dish with your doyenne.
The Deutsche Opera an Rhein production of Handel’s Xerxes (which is shared with the Berlin Komische Oper), though I saw it three nights ago, has taken a while to settle down in my brain.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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