Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
At Wolf Trap Opera, a season-closing Tosca is weighed down by an incoherent setting during Italy’s Anni di piombo.
Wolf Trap Opera presented a lovely Eugene Onegin with particularly noteworthy performances by Magdalena Kuźma and Daniel O’Hearn.
Wolf Trap Opera triumphs in a fizzy, fun Cenerentola.
After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
Baltimore Symphony Orchestra’s concert Rigoletto hits some vocal turbulence
Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await him.
Bass-baritone Le Bu’s recital with Vocal Arts DC highlighted his linguistic and timbral versatility.
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
Washington National Opera offered a searing production of Robert Ward’s opera The Crucible, directed by WNO Artistic Director Francesca Zambello, as the second installment in the company’s next chapter.
In its first production since departing the Kennedy Center, the Washington National Opera presents a new adaptation of “King of Ragtime” Scott Joplin’s opera Treemonisha.
Ahead of his first season as the Music & Artistic Director of the New York Philharmonic, how much longer can — and should — Gustavo Dudamel stay quiet about the situation in his native Venezuela?
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
Jake Heggie and Gene Scheer’s Grammy-winning Intelligence makes a largely successful East Coast debut at Virginia Opera.
Following the announcement that she’ll make her Met debut next season, Grand Tier Grab Bag brings Italian soprano Erika Grimaldi to your attention with a duet from Manon Lescaut.
That Trump opera at the Staatsoper Hamburg is lazy activism at its finest, we fear.
“Let me look around once more. Who knows when I shall see this house again?”
Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
Washington National Opera is leaving the Kennedy Center, according to The New York Times
America’s own Faust gets a compelling operatic treatment, courtesy of DC’s IN Series
Washington National Opera’s holiday presentation of The Little Prince, based on the classic French novella by Antoine de Saint-Exupéry, showcased the company’s Cafritz Young Artists
Washington Concert Opera began its 39th season last month with Christoph Willibald Gluck’s late masterpiece Iphigénie en Tauride.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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