It is a physical pleasure to hear Kate Lindsey at close quarters.
Washington National Opera presented a well-sung and humorous Marriage of Figaro, buoyed by clever direction and a strong cast, particularly Rosa Feola’s Countess and Joélle Harvey’s Susanna.
Jeanine Tesori’s Blue is an ambitious and worthy opera that deserves a better presentation than it got at Lincoln Center on Saturday.
As my friend and I Ubered out to the luxurious Cobb Energy Centre for Atlanta Opera’s La traviata, I had trains on the mind.
James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
The women were the highlights of Washington National Opera’s militaristic Aïda
Brendan Latimer sits down with Francesca Zambello and members of the cast of Washington National Opera’s production of Aïda to discuss the complicated legacy of one of Verdi’s most beloved works and the tricky business of “inventing the truth.”
Wolf Trap Opera concluded its 2025 summer season last month with a production of Carmen that was vocally strong, though not entirely dramatically satisfying, amid challenging weather.
Wolf Trap Opera’s stirring production of Dialogues des Carmélites was a welcome respite from a brutally hot and humid DC summer.
Wolf Trap Opera kicked off its summer season with an inventive production of Wolfgang Amadeus Mozart’s Le Nozze di Figaro inspired by Pablo Picasso that showcased up-and-coming singers.
A starry concert Aïda in Baltimore proves unusually polished
An impressively well-rounded revival of Francesca Zambello‘s production of Porgy and Bess concludes the Washington National Opera season
The Met doesn’t have the monopoly on Salome this spring — look no further than Catapult Opera’s San Giovanni Battista which opens in Brooklyn next month.
An innovative score and fluid production by Denyce Graves-Montgomery are highlights of Virginia Opera’s production of Loving v. Virginia
The (R)evolution of Steve Jobs at the Kennedy Center: not a poorly made opera, but so relentlessly mid.
Christopher Corwin on three stylish sopranos delighting audiences live in New York and on recording in a trio of new releases.
By the time the curtain rose on Verdi’s Luisa Miller last Sunday in Washington Concert Opera’s final show of the season, the originally announced line-up was about as accurate as a federal agency org chart from February.
Who knew that rehearing a performance you believed had become nothing more than a cherished memory would have such healing properties during a time of bereavement?
IN Series concluded its exploration of the works of Claudio Monteverdi with a production of the composer’s final opera, L’incoronazione di Poppea, performed with the addition of Indian music and dance.
Joyce Guyer’s silvery soprano, impeccable musicianship and beguiling stage presence made her an invaluable member of the Met roster in the late 1990s and early 2000s, appearing most frequently in harmony with others in such assignments as Najade in Ariadne auf Naxos, Woglinde in Wagner’s Ring Cycle and as a Parsifal Flower Maiden.
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.
I’ve been waiting (nearly) 20 years for another encounter with Samuel Barber and Gian Carlo Menotti’s Vanessa.
The court of Mantua has run away to join the circus; Washington, DC and Baltimore’s experimental opera company, IN Series, transformed Giuseppe Verdi’s Rigoletto in a new production set under the big top this winter.
The plight of two women, each from different backgrounds, was on full display in San Francisco opera houses last week.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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