(A)nything (B)ut (C)armen
Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
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.
The Festival d’Aix is second to none in Europe — and it happens in a Provençal town where the cars stay out and the cafés keep their own hours. A guide to making a week of it.
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