Sublime loneliness
Across three evenings at the 92nd Street Y, Konstantin Krimmel and Ammiel Bushakevitz traversed all of Schubert‘s major song cycles with stark intensity.
Across three evenings at the 92nd Street Y, Konstantin Krimmel and Ammiel Bushakevitz traversed all of Schubert‘s major song cycles with stark intensity.
In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
It is a physical pleasure to hear Kate Lindsey at close quarters.
“This isn’t an opera that touches on queer themes; it’s a bundle of queer themes tied up in an opera.”
Like Type 2 Diabetes, symptoms of YAS (Yuletide Aversion Syndrome) commonly creep up on gay men after manopause.
A consideration of Anika Kildegaard’s extraordinary recital in Philadelphia—and the oddity of recitals themselves.
Composer Philip Venables talks about queer utopias and bending gender and genre in The Faggots and Their Friends Between Revolutions which opens at the Park Avenue Armory this week.
Barbara Strozzi links two sensuous programs by L’Arpeggiata and Catapult Opera.
Are today’s stars enough to sustain Andrea Chénier?
As Messiah season begins, Christopher Corwin reports on two of Handel’s forays into the Old Testament.
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.
I never thought an opera production could be this well done.
Austin Opera’s 40th anniversary gala celebrated the present while gesturing boldly towards the future.
Pittsburgh Opera’s Fellow Travelers delivers a timely story with detail and care.
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
With Cesare’s old-school rules of war set spinning by Cleopatra’s Bollywood-inspired manipulations, a Da Capo aria has never felt more dangerous
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