Brett Dean‘s Of One Blood casts a well-trodden Tudor tale in a poignant, new light.
The one who got away was Anna Caterina Antonacci, a thrilling performer.
Christopher Purves in Saul – the clarity, the range, the expression, the drama!
Sir Simon Rattle and the Bavarian Radio Symphony Orchestra strike (almost) all the right notes in their new recording of Mozart’s Idomeneo.
Recency bias is in full swing here, but Glyndebourne’s first ever staging of Parsifal – and my first Parsifal – takes top prize for me.
In the 1847 version of Macbeth, the forces of Teatro Nuovo lacked the thunderous punch this music can pack, but provided a pleasant ride
Audacious star performances elevate safe direction in Richard II and The Seagull on London’s West End
A stylish and funny Così fan tutte at LA Opera is a pretty glam affair, according to Patrick Mack.
Sparks flew when the San Francisco Opera opened their new production of Richard Wagner’s monumental Tristan und Isolde on Saturday, October 19th, at the War Memorial Opera House.
Washington Concert Opera’s season opened with a triumphant performance of Gioachino Rossini’s rarely heard Ermione Saturday night at George Washington University in D.C., led by Antony Walker and a stellar quartet of principals in Angela Meade, Lawrence Brownlee, David Portillo, and Ginger Costa-Jackson.
A stack of noteworthy recent baroque vocal CDs on my desk has been staring at me for weeks, so I’m tackling them on Handel’s birthday before the Met roars back into action beginning this weekend.
Arts Council England, as a global policy trendsetter, may have sounded the death knell for the international opera industry as we know it.
One wonders whether an obsession with metrics and measurement has the potential to create arts organizations that are more preoccupied with finding systems that quickly and efficiently tick the Arts Council’s boxes than with creating meaningful, impactful art.
“Opera needs a reset. We think there needs to be a fundamental shift in the ecology.”
Dame Ethel Smyth’s third opera, The Wreckers, opened at Houston Grand Opera on October 28 and runs through November 11.
As soon as James Clutton, the new Opera Holland Park director, stepped on stage to welcome the audience, we all knew that we were not at the typical English summer opera festival.
The lovely English soprano Valerie Masterson turns 84 today, prompting Trove Thursday to present her in a pair of her specialties.
The Met recently submitted another eye-roll inducing entry for the Woke Olympics with their Women’s History Month slate.
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
Lise Davidsen, the young Norwegian soprano who won the Operalia competition in 2015, makes her debut as a recording artist with the Decca label in a new recital of Wagner and Strauss arias and orchestral songs.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
Stefan Herheim productions may be many things, but they’re always theatrical.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
Even those of us who consider Guillaume Tell Rossini’s greatest opera understand why it has not been his most frequently staged.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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