As Messiah season begins, Christopher Corwin reports on two of Handel’s forays into the Old Testament.
Washington National Opera presented a well-sung and humorous Marriage of Figaro, buoyed by clever direction and a strong cast, particularly Rosa Feola’s Countess and Joélle Harvey’s Susanna.
I never thought an opera production could be this well done.
Austin Opera’s 40th anniversary gala celebrated the present while gesturing boldly towards the future.
Pittsburgh Opera’s Fellow Travelers delivers a timely story with detail and care.
Jeanine Tesori’s Blue is an ambitious and worthy opera that deserves a better presentation than it got at Lincoln Center on Saturday.
As my friend and I Ubered out to the luxurious Cobb Energy Centre for Atlanta Opera’s La traviata, I had trains on the mind.
James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
With Cesare’s old-school rules of war set spinning by Cleopatra’s Bollywood-inspired manipulations, a Da Capo aria has never felt more dangerous
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
A brief concert at the Frick Collection teases the multifaceted artistry of Davóne Tines
The women were the highlights of Washington National Opera’s militaristic Aïda
My first reaction in 1974 wasn’t good. The production was full of stairs, and I was afraid Montserrat Caballé would fall at any moment.
J’Nai Bridges makes a sophisticated companion to the Morgan Library & Museum’s Renoir Drawings exhibit.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
A new production of Parsifal at San Francisco Opera stirred something deep inside Michael Anthonio about how music soothes the soul
Shirin Neshat‘s Aïda in Paris is a typical instance of what happens when an artist is brought in to direct an opera.
Dmitry Matvienko led a performance of Mussorgsky and Shostakovich at La Monnaie with meticulous rectitude.
What Opera Lafayette’s Dido and Aeneas lost in gravitas it gained in charm and specificity.
Brendan Latimer sits down with Francesca Zambello and members of the cast of Washington National Opera’s production of Aïda to discuss the complicated legacy of one of Verdi’s most beloved works and the tricky business of “inventing the truth.”
Matthias Goerne‘s Die schöne Müllerin at Carnegie Hall offers a hoary and excessive collection of mannerisms and vocal tics that served the artist more than the music itself.
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
Buoyed by a strong cast, The Metropolitan Opera continues its autumn bel canto streak with a winning revival of Donizetti’s La fille du regiment.
Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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