Is there any opera that can take more of a beating while still making an impact than Eugene Onegin?
With four hours’ notice and no stage rehearsal, soprano Marisa Galvany went on, making her Met debut as Norma.
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
The Metropolitan Opera delivers on the promise of Wagner’s Gesamtkunswerk in a revival of Robert Lepage’s Ring.
Hearing Lucas Meachem perform Kindertotenlieder in the crypt of Harlem’s Church of the Intercession was a heart-warming, and ultimately uplifting experience.
“Trove Thursday” leaps to the end of the cycle with a slightly abridged Götterdämmerung featuring Amy Shuard as Brünnhilde.
Sixty years ago today, Berg’s Wozzeck was first performed at the Metropolitan Opera.
Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)
Although Gustav Mahler never wrote an opera, his colossal Eighth Symphony “The Symphony of a Thousand” may give us some glimpses of what a Mahler opera might have sounded like
Tenor Matthew Polenzani and pianist Julius Drake’s performance left this listener in a a state of euphoria.
What happens in Karlsruhe stays in Karlsruhe!
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
You’d want to expect that every Met retread would draw the same curiosity, the same large crowds, to Lincoln Center.
Porgy and Bess, George Gershwin, Ira Gershwin and DuBose Heyward’s 1935 “folk” opera, graced the stage of Dutch National Opera for the first time last month, and it was resounding success from start to finish.
A double-barreled “Trove Thursday” birthday salute to Renée Fleming who turns 60 today.
The “Red Priest” of Venice once made reference to his “94 operas” in a letter to his patron.
It may have taken 28 years to see Robert Carsen’s production of Britten’s A Midsummer Night’s Dream in the U. S., but it was worth waiting for.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
Handel’s Radamisto returned to New York when Opera Lafayette movingly performed this early masterpiece.
Barbara Hannigan‘s electrifying performance with the Juilliard Orchestra on Friday night proves that she is as much a force to be reckoned with on the podium as she is onstage.
La Fille du Régiment, Donizetti’s half-spoken ode to La France about a girl raised by a division of daddies, is at once infamous and beloved for the string of nine high C’s capping act one.
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
There are, on rare occasions, moments in a live performance where some intangible symbiotic relationship between audience and performer creates an instant that borders on the sublime.
I was shocked to realize I hadn’t seen Don Giovanni at the Met since Michael Grandage’s stultifying production opened in 2011.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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