Which witch?
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.
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.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
David Fox and Dan Johnson report on Yannick Nézet-Seguin‘s recent performances of Mahler’s Symphony No. 2 with the Philadelphia Orchestra in Philadelphia and New York.
Baritone Quinn Kelsey’s recital of English-language art songs in partnership with pianist Craig Ketter was a worthy celebration of Vocal Arts DC’s 35th-anniversary season.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Time to Act at Pittsburgh Opera effectively employs Greek tragedy to explore the all-too-common tragedies haunting schools across the United States.
This performance features Samuel Ramey in what I consider one of the most powerful deliveries of this aria on record.
“Even Peter Gelb’s critics concede that he has had a long run of finding pots of gold,” says The New York Times of the Metropolitan Opera‘s dire money troubles. “But is he running out of rainbows?”
Confused dramaturgy dampens an otherwise sparkling night of singing in Opera Baltimore’s Lucrezia Borgia.
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