Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa‘s bold production at the Lyric Opera of Chicago.
El último sueño de Frida y Diego at the Lyric Opera of Chicago is a visual and sonic wonder, but a weak libretto dampens its effect.
Akhnaten has lost none of its power or glitz at the Los Angeles Opera.
It’s always surprised me how so many performances of the major Brecht/Weill collaborations seem to have zero clue of how to handle either Weill’s music.
Esa-Pekka Salonen and The Los Angeles Philharmonic serve a feast for all five senses.
Dan Johnson gives an inside look at the creation of Sarah Kirkland Snider‘s rapturous new opera Hildegard which opens at New York’s PROTOTYPE Festival next week.
In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
Though perhaps showing its age, a storied production of La bohème nonetheless makes a welcome return to the Los Angeles Opera
West Side Story opened LA Opera’s 40th anniversary season with fury and flair
A grand concert from Angel Blue has Patrick Mack wondering, “where’s her crossover album?”
A stylish and funny Così fan tutte at LA Opera is a pretty glam affair, according to Patrick Mack.
I was just moderately excited when LA Opera announced that French tenor Benjamin Bernheim would be coming to concertize at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, 90210.
It surprises even me how some operas have eluded me in live performance even after lo, these many years. One of them is Gounod’s Roméo et Juliette.
My vision may have been slightly blurry at the end.
Don’t cry for me, Birgit Nilsson
She can’t put her foot on the gas the way she used to but there’s still plenty of fuel in that tank.
As an opera fanatic who was baptized by the blood of Leontyne Price, the Messa da Requiem by Giuseppe Verdi appeared on my radar fairly soon after I started delving into the operatic canon.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
I have a confession and you may need to sit down for it: Andrew Lloyd Webber’s Evita was one of the gateway drugs to my eventual opera fandom.
Oh, La traviata, how do I love thee? Let me count the recordings.
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
We may all be armchair Handelians, but some of us are more used to it than others.
Despite this being the first full-length opera for Gabriela Lena Frank, there’s no lack of experience across the creative team which, along with favorable reviews for the production, contributed to high levels of anticipation.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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