One can only pray that “three strikes, you’re out” applies at the Met. If so, we can rest easy that Jeremy Sams won’t be getting any new assignments.
Washington National Opera presented the fourth annual installment of its “American Opera Initiative” series in the Kennedy Center Terrace Theater Wednesday evening.
Since its founding 20 years ago, Washington, DC-based Opera Lafayette has devoted its considerable imagination and energy to reviving lesser-known 17th and 18th century French operas.
Unlike my friend Greg Freed, who entertainingly wrote of his ambivalence about seeing Il trovatore in a movie theater this season, I have embraced the Met Live in HD transmissions as a part of the modern operagoing experience.
Might Max Emanuel Cencic be the countertenor for people who hate countertenors?
As a whole, the evening seemed forced and a bit dispiriting.
Mounting Verdi’s French grand operas in their original language is no longer as unusual as it once was.
Bare Opera, the feisty little company that gave Debussy’s exquisite L’Enfant Prodigue in Chelsea last spring, is now operating in chic, rundown Bushwick where so many original enterprises sprout.
Hopefully the assignment of Herman Melville’s endless whaling opus Moby-Dick as compulsory reading for High School students is a thing of the past.
Saturday’s Washington National Opera premiere of a new version of Philip Glass and Christopher Hampton’s Appomattox had everything going for it but the opera.
On Thursday evening Jennifer Wilson “finally” made a belated, disappointing Met debut as Turandot.
Between them, Maria Guleghina, Marcello Giordani, James Morris and John Del Carlo have nearly 150 combined years of service on stage.
In New York, tradition insists, there are no limits to where a preposterous idea, talent and relentless determination will take you, in defiance of all the odds.
It’s time for the annual celebration of the birth of Leonie Rysanek (who, as you know, is your alte Jungfer’s Diva of Divas).
Lilith. Pandora. Circe. Salome. “La Belle Dame sans Merci.” Carmen. Brigid O’Shaughnessy: the eternal “femme fatale” still fascinates us.
Polish singers are chameleons. They have to be.
William Christie’s Les Arts Florissants made a much-anticipated appearance at Lincoln Center’s White Light Festival Saturday performing Theodora.
The annual Richard Tucker Gala is probably the event of the year to indulge your love of verismo staples and can belto screaming.
Angela Gheorghiu‘ s idiosyncratically alluring, sometimes maddening, always fascinating Floria Tosca inevitably became the evening’s unmissable raison d’être.
With help from the Met’s invaluable performance archive, here is a look back at just some of what you could have seen, and perhaps did see, on October 31st through the years at the Met.
“Trove Thursday” presents Don Procopio, an early two-act confection in Italian featuring an all-star French (and Belgian) cast.
With a primary color, projection-heavy English-language Magic Flute that’s going to feel like a matinee whenever you see it, the SFO season has lived up to its initial promise.
Whatever happened to Stefania Bonfadelli?
Simply put, Christine Goerke is a stupendous Elektra.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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