Richard Lynn bravely asks what we’re hoping to get out of the continued Peter Gelb-bashing — and whether our expectations of him have ever been fair
I’d never heard Götterdämmerung in a live performance until 1985 at The Dallas Opera. OMG, so long ago!
It took me a while to “warm up” to Wagner.
Christof Loy‘s Louise in Aix-en-Provence scratches at the urban– and operatic– unconscious
Wolf Trap Opera’s stirring production of Dialogues des Carmélites was a welcome respite from a brutally hot and humid DC summer.
R.B. Schlather‘s shadowy production with Heartbeat Opera at the Williamstown Theatre Festival proves that Vanessa might be coming into its own at last
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
Sherrill Milnes sits down with Brendan Latimer to talk about his life, career, and what he hopes to pass along to the next generation
The groundbreaking director and designer of works like Einstein on the Beach died earlier today at his home in Water Mill, New York
This Bard production, led by Leon Botstein, makes the strongest possible case musically, dramatically and visually for Smetana’s opera Dalibor.
Mexican soprano Gilda Cruz-Romo died on 28 June at the age of 85 and Chris’s Cache remembers her with live recordings of a frequent role and a rather rare one: a last-minute Met Tosca plus perhaps her only stab at the Cherubini Medea.
A North American debut of a respectable French Baroque ensemble, an ebullient presentation of La fille du régiment, and an afternoon soiree in Wine Country proved to be the hottest (yet affordable!) tickets around here this Summer.
In the 1847 version of Macbeth, the forces of Teatro Nuovo lacked the thunderous punch this music can pack, but provided a pleasant ride
Carmen Paddock and Mr. Portafiori aren’t getting the hype behind Ivo van Hove, Krzysztof Warlikowski, and Calitxo Bieito
It’s Norma, darling. We know.
Jessica Pratt’s last-minute Norma in Milan might well be the stuff of legend
A starry cast is hampered by Christof Loy‘s dour production of Rusalka in Barcelona
La sonnambula at Teatro Nuovo overcomes uneven casting to highlight the many charms of Bellini’s bel canto masterpiece
Music for New Bodies at Lincoln Center’s Running AMOC* Festival proves Matthew Aucoin really is everything he’s made out to be
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
It’s like making love with someone whose rap never ceases—and includes “helpful suggestions” about how you can be improving your game.
Chris’s Cache would argue that Prokofiev’s Betrothal in a Monastery is a much more enjoyable alternative to the pandemic-canceled Barrie Kosky The Fiery Angel
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.
When such a canonically ossified work like Verdi’s Aïda is directed at all (let alone as ambitiously as Damiano Michieletto at the Maggio Musicale Fiorentino), it does feel like a completely different opera
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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