I can think of no other role that provides the most unique promise of humiliation, and consequently the most opportunity for glory.
Much like Wagner’s Tristan und Isolde, which launched the Met’s 2016-2017 season, Kaija Saariaho’s L’Amour de Loin is an opera about love and death.
Operatic history can be cruel where multiple works with the same subject are concerned
Anna Netrebko‘s Manon was deeply unforgettable for its wide scope, control, and incredible virtuosity.
Akhnaten, seen at the Los Angeles Opera on November 13 tells the story of the Pharaoh who abandoned traditional Egyptian polytheism.
Miss Battle was greeted with a thunderous ovation befitting a beloved singer at the end of an illustrious career.
Leonie Rysanek, would have turned 90 today.
Washington National Opera offered a shellshocked D.C. some much-needed diversion Saturday night, with a new production of La Fille du Regiment.
>What does a great opera production do, and what does a bad production fail to do?
At the election-eve Jenufa at the Met, Trumpism made an unexpected, if timely appearance.
What to do with all those glorious short operas: play them alone or find companion pieces?
The 2016 Richard Tucker Award recipient is Tamara Wilson.
Verdi’s Macbeth gets true blood-and-guts treatment from Guillermo Sarabia and the legendary Marisa Galvany.
The centerpiece of Janácek’s Jenufa was the performance of Karita Mattila as the murderous Kostelnicka.
“Take a good deal of trouble with it, because it is a fine subject, delicate and full of pathos.”
The good news is that the first concert was devoted to the exceptional artistry of Lawrence Brownlee.
A simply gorgeous performance of Gluck’s Orphée et Euridice starring Juan Diego Flórez.
Thoughtless direction stifled the epic drama.
Adriana Lecouvreur with the 1970s dream cast of Montserrat Caballé, José Carreras, and Fiorenza Cossotto.
Jean-Pierre Ponnelle’s production of L’Italiana in Algeri for the Met remains steadfastly ignorant of postcolonial theory.
Lyric Opera of Chicago’s 2016-17 season got off to an exciting start on Saturday night with Wagner’s Das Rheingold.
Like Orest, I return to this house.
Jonny spielt auf, the second opera by 26-year-old composer Ernest K?enek, was such a huge success after its 1927 Leipzig premiere that in the following season it was performed 491 times in Germany alone.
How Verdi’s opera might address this particular nightmare was unclear.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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