Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
Klaus Mäkelä unexpectedly joins the foray for The Cleveland Orchestra‘s performances of Benjamin Britten’s War Requiem.
With Siegfried, the directorial vision of the Paris Opera‘s Ring cycle finally takes root.
Nearly three years after the premiere of François Girard’s Lohengrin at the Met, Parterre Box looks back at the production with a duet from Piotr Beczala and Elena Stikhina.
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
The Santa Fe Opera’s fine first Die Walküre finds Wagner in America at a crossroads.
Breaking the Waves and Tannhaüser at Houston Grand Opera are a can’t-miss doubleheader of sex and miracles.
Washington Concert Opera delved into Mozart for the first time earlier this month with the composer’s once neglected penultimate stage work, La Clemenza di Tito, led by Maestro Antony Walker.
You probably won’t leave Idomeneo ready to burst out in song, but what the opera lacks in melodic immediacy it makes up for in sheer virtuosity.
Instead of following the story, we in the audience spend most of the evening thinking “What?? Why is that happening?”
I can’t imagine anything more anxiety-inducing than being put in at last-minute to sing a role in a high-profile production at the Met.
It seems that François Girard has been watching a little too much Star Wars lately. His new production of Lohengrin, which opened at the Metropolitan Opera Sunday afternoon, reduced Wagner’s opera to a knockoff space opera, full of hackneyed sci-fi tropes and B-rated futurist apologue.
LOC’s Ernani is a satisfying evening of Verdi sung by four stars at the height of their powers.
Los Angeles Opera’s St. Matthew Passion was by equal parts challenging and hypnotic to watch.
Lyric Opera of Chicago scored a smashing success on Sunday with its “Verdi Voices” concert, featuring soprano Tamara Wilson, tenor Russell Thomas, and Lyric Music Director Enrique Mazzola conducting Members of the Lyric Opera Orchestra in what might be termed a program of Verdi’s Greatest Hits.
Concerts at Wolf Trap, mixed bags in more ways than one, provided fleeting glimpses of the old normal as moments of frisson mingled with more familiar monotony.
Michael Fabiano in one of his specialties as the dashing hero of Il corsaro torn between Tamara Wilson and Nicole Cabell.
Trove Thursday presents Michael Fabiano in one of his specialties as the dashing hero of Il Corsaro torn between Tamara Wilson and Nicole Cabell.
The opening night of the Canadian Opera Company’s 2019-20 season was all about the Wilsons.
The Canadian Opera Company’s new production of Otello is a collection of welcome returns.
No other singer of Die Amme approaches the towering standard set by the German mezzo Tanja Ariane Baumgartner.
If sheer clarion vocalism is what draws you to the opera, then hie thee to Lyric Opera of Chicago’s rousing revival Of Verdi’s Il Trovatore, the oddly plotted but musically sublime opera that opened last night in the David McVicar production, originally seen in 2006.
This week’s star-spangled “Trove Thursday” offers the second crazy-quilt installment of divas in the wrong language.
The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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