Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
Dmitri Tcherniakov‘s production of Der Freischütz in Munich may fire a few blanks, but the musicians are all on target.
Les Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
While it may not be top-tier Rossini, Teatro Nuovo’s mounting of Il turco in Italia is still good summer fun.
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
Mesdames et Messieurs, this summer’s broadcasts from the Festival d’Aix-en-Provence begin this weekend!
Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
Brundibár at the Opéra Comique combines whimsy with historicity to sobering effect.
Supported by an ingenious production and strong performances, Antonia Bembo’s Ercole Amante makes a successful Paris Opera debut.
Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await him.
Christopher Corwin picks the flowers of a baroque May in New York City with reviews of concerts starring Lauren Snouffer, Key’mon Murrah, and the Oratorio Society of New York.
Clémence de Grandval’s Mazeppa gets the superhero treatment in Dortmund.
An exciting cast digs their claws into a heady production of La Calisto at the Théâtre des Champs Elysées.
Led by a mesmerizing Anthony Roth Costanzo, Satyagraha at the Paris Opera dispenses with historical particularities for something for more elusive.
Ten years since the death of countertenor Brian Asawa, Charles Stanton remembers his friend and corrects the record on his untimely passing.
Golda Schultz soldiers through illness at the New York Philharmonic.
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.
Kent Nagano gives a boost to the Opéra national de Paris‘s revival of Nixon in China.
Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
John Danaher on the world-premiere recording of Clémence de Grandval‘s wild and worthy Mazeppa, the latest release from the operatic archaeologists at Palazzetto Bru Zane.
The Ralph Fiennes production of Eugene Onegin at the Paris Opera is just…fine.
An excellent Věc Makropulos at Opéra de Lille makes the case for the vitality and necessity of France’s regional companies.
Marina Rebeka comes tantalizingly close to triumph in Cherubini’s Médée at Théâtre des Champs Elysées.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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