No need to grin and bear it
An exciting cast digs their claws into a heady production of La Calisto at the Théâtre des Champs Elysées.
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.
With Siegfried, the directorial vision of the Paris Opera‘s Ring cycle finally takes root.
I had the pleasure of attending Manon starring Lisette Oropesa and Benjamin Bernheim at Opernhaus Zürich this past October.
“When there’s so much to get right, unsurprisingly a lot can and, as we all know, does go wrong.”
I can’t say 2025 was my best operagoing year; apart from a superb Fille du régiment, most of my good nights at the opera were decidedly mixed affairs.
Fine music-making meets a clunker of a production in La Monnaie‘s revival of Norma
Théâtre de l’Athénée Louis-Jouvet mounts a raucous production of Hervé’s Le petit Faust.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
It would be difficult to find a better description for Ambroise Thomas’s newly-recovered Psyché, recently heard in a new recording from Palazzetto Bru Zane, than the one uttered by her suitors: “Charmante Psyché!”
Offenbach‘s Robinson Crusoé is salvaged from obscurity.
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