Yuval Sharon‘s production of The Excursions of Mr. Brouček shoots for the moon — and lands somewhat limply on Lake Constance.
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
The Chicago Symphony Orchestra explores love and death in an intense, intelligent program featuring soprano Corinne Winters.
Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Anticipating the titanic arrival of Lise Davidsen‘s Isolde in New York in March, Parterre Box is thrilled to share a bit of her debut opposite Clay Hilley recorded in Barcelona last week.
The Comet/Poppea at this summer’s Running AMOC* festival at Lincoln Center is a thrilling, startling, deeply moving experience
Opera Director and Detroit Opera Artistic Director Yuval Sharon begins his recent book A New Philosophy of Opera by imagining a future – some forty to fifty years from now – in which opera ceases to exist as an art form.
Not even howling winds and thunderous rain could dampen the excitement of Bay Area audiences to experience Norwegian soprano Lise Davidsen for the first time in the Bay Area at Zellerbach Hall Berkeley last Tuesday, 4 February.
Christopher Cerrone and Stephanie Fleischmann‘s opera at the Prototype Festival re-sets Rashomon in the Pacific Northwest and binds its characters into a hellish cycle of violence with a dark, hypnotic score
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
Okay, let’s get the silly jokes out of the way first. Around our house, we’ve been referring to this alternately as Merrily We Bohemians Roll Along, or Emèhob Al.
Unfortunately, LOC’s Proximity works only fitfully.
Yuval Sharon at Boston Lyric Opera has brilliantly found an interpretative middle ground for La bohème by presenting the acts in reverse order.
I still remember, and some of it quite vividly, what it was like to experience Achim Freyer‘s intense and groundbreaking Ring production all these years later.
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.
The Cleveland Orchestra’s premiere performance of Janacek’s Cunning Little Vixen proved to be both a critical and audience success.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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