Aegean in place
Greek National Opera’s Medea in the ancient theater at Epidaurus is an intermittently rewarding exercise in nostalgia.
Greek National Opera’s Medea in the ancient theater at Epidaurus is an intermittently rewarding exercise in nostalgia.
Brett Dean‘s Of One Blood casts a well-trodden Tudor tale in a poignant, new light.
Yannick Nézet-Séguin, leading the Met Orchestra, and Joyce DiDonato continue their exploration of Mahler at Carnegie Hall.
After more than twenty years of unsuccessful attempts to secure tickets, I imagined that experiencing a performance at the Festspielhaus would be a singular, once-in-a-lifetime event. Yet…
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.
Madison Schindele surveys the endlessly diverse offerings of Berlin’s 2026-27 opera season.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
A new production of Die schweigsame Frau at the Berlin Staatsoper has precious little to say.
Clémence de Grandval’s Mazeppa gets the superhero treatment in Dortmund.
The countertenors conquer the day in Handel‘s Giulio Cesare in Egitto at the Deutsche Oper Berlin.
Like probably all of us, there are so many different things I could have submitted for a favorite Verdi performance.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
I don’t know if I’ll ever hear as great a performance as René Pape‘s Gurnemanz.
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.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
A captivating Asmik Grigorian leads the Bayerishce Staatsoper‘s revival of its Holocaust-set Salome.
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