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Bayreuth’s AI-powered “Ring 100010110” marred a first-rate cast and orchestra with nightmarish visuals and horrid dramaturgy.
Bayreuth’s AI-powered “Ring 100010110” marred a first-rate cast and orchestra with nightmarish visuals and horrid dramaturgy.
Cher public is exhorted to join the Geplauder when the annual week of broadcasts from Bayreuth begins on Saturday
Daniel Barenboim’s Tristan und Isolde is a performance I keep coming back to, again and again.
Greek National Opera’s Medea in the ancient theater at Epidaurus is an intermittently rewarding exercise in nostalgia.
After more than twenty years of unsuccessful attempts to secure tickets, I imagined that experiencing a performance at the Festspielhaus would be a singular, once-in-a-lifetime event. Yet…
Like probably all of us, there are so many different things I could have submitted for a favorite Verdi performance.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
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.
Caitlin Vincent‘s new book Opera Wars paints a persuasive picture of the problems facing opera today, though her solutions leave something to be desired.
Jennifer Holloway, star of Salome at the Lyric Opera of Chicago, talks with Christina Colanduoni about re-launching her career as a soprano and how her Salome is “just trying not to disappear under everybody else’s rule.”
A new production of Parsifal at San Francisco Opera stirred something deep inside Michael Anthonio about how music soothes the soul
Nowhere are the contradictions between Wagner’s small-mindedness, his meanness of spirit, and his human insight on clearer display than in Hans Sachs monologue Wahn, Wahn überall Wahn in the third Act of Mesitersinger.
Dame Gwyneth Jones as Brünnhilde pretty much started it all for me.
Tobias Kratzer‘s Das Rheingold in Munich kicks off a Ring for the post-secular age
Valentin Schwarz‘s and Simone Young‘s Ring, in its final outing at Bayreuth, is dramaturgically messy and musically excellent.
I suppose Der fliegende Holländer is my favorite Wagner opera — a riveting masterpiece from start to finish, dramatically and musically.
A performance recorded earlier today at the Bayreuth Festival
The final installment of the 2025 Ring from Bayreuth
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