Ten years since the death of countertenor Brian Asawa, Charles Stanton remembers his friend and corrects the record on his untimely passing.
SoCal goes Scandi in two recent concerts, with one featuring an appearance by Lise Davidsen.
With Nixon, Klinghoffer, and Andris Nelsons on the mind, Parterre Box offers a recording of the Boston Symphony Orchestra’s recent John Adams outing.
Golda Schultz soldiers through illness at the New York Philharmonic.
The Chicago Symphony Orchestra explores love and death in an intense, intelligent program featuring soprano Corinne Winters.
The embattled Andris Nelsons and the Boston Symphony Orchestra bring Adams and Dvorák to Carnegie Hall.
Golda Schultz casts darkness in an alluring light in an intimate recital at the New Orleans Opera Festival.
Kaija Saariaho’s spectral, shattering Innocence makes its Metropolitan Opera debut.
The inaugural New Orleans Opera Festival goes big across the Big Easy.
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Led by Yannick Nézet-Séguin and Yoann Combémorel, the Curtis Symphony Orchestra proves themselves the equal of any major American orchestra in a program of Mahler, Wagner, and Dawson.
Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa‘s bold production at the Lyric Opera of Chicago.
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.
As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
Opera directors could learn a thing or two from Deaf Broadway’s vivacious performance of Jeanine Tesori‘s Violet.
Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
Lisette Oropesa, Piotr Buszewski, and Luca Salsi feature in a rote revival of Michael Mayer‘s cloying production of La traviata.
El último sueño de Frida y Diego at the Lyric Opera of Chicago is a visual and sonic wonder, but a weak libretto dampens its effect.
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.
A David Lang premiere at the New York Philharmonic brings a wealth of musical delights — and bodes well for Gustavo Dudamel‘s leadership.
Golda Schultz and Jonathan Ware present Dark Matter(s), an intriguing program of songs, at the Philadelphia Chamber Music Society.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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