A passing mood
Mascagni‘s Zanetto, a slight, Renaissance scene, gets a new recording from the Berlin Opera Group.
Mascagni‘s Zanetto, a slight, Renaissance scene, gets a new recording from the Berlin Opera Group.
Akhnaten has lost none of its power or glitz at the Los Angeles Opera.
Will Liverman and Kiera Duffy brought an eclectic program to their jovial post-blizzard recital at Rhode Island College.
Baritone John Brancy smoothly traverses the American songbook at Carnegie Hall.
Samantha Hankey’s Composer is the standout in the Wiener Staatsoper’s episodically sublime Ariadne auf Naxos revival.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
Jake Heggie and Gene Scheer’s Grammy-winning Intelligence makes a largely successful East Coast debut at Virginia Opera.
Following the announcement that she’ll make her Met debut next season, Grand Tier Grab Bag brings Italian soprano Erika Grimaldi to your attention with a duet from Manon Lescaut.
George Frideric Handel (born 341 years ago on Monday) composed over 40 operas including many masterpieces, but his Giulio Cesare is the one that everyone knows best.
The St. Louis Symphony Orchestra under conductor Stéphane Denève plays up the schtick in a concert performance of The Magic Flute – and obscures Mozart’s magic in the process.
Joyce DiDonato makes the most of Kevin Puts‘s trite new Emily Dickinson monodrama.
That Trump opera at the Staatsoper Hamburg is lazy activism at its finest, we fear.
San Diego Opera presents a strongly directed and cast revival of Il barbiere di Siviglia.
Caitlin Vincent‘s new book Opera Wars paints a persuasive picture of the problems facing opera today, though her solutions leave something to be desired.
It was many decades ago that I first listened to the Solti Ring Cycle.
Diana Soviero chats with Roger Pines about six decades of performing, four decades of teaching, and how she’s handing the tradition off to the next generation.
Iván Fischer‘s Mahler 3 with the Budapest Festival Orchestra at Carnegie Hall is memorable but crude, sometimes exhilarating and often tedious.
Juan Diego Flórez‘s charm and artistic sensibility remain as vibrant as ever, as seen at a recent Carnegie Hall recital.
The dazzling and deeply moving Complications in Sue bodes well for Anthony Roth Costanzo‘s stewardship of Opera Philadelphia.
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