Juan Diego Flórez and Damiano Michieletto concoct an absinthe-fueled fever dream in a new DVD from The Royal Ballet and Opera and Opusarte.
In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
It is a physical pleasure to hear Kate Lindsey at close quarters.
Like Type 2 Diabetes, symptoms of YAS (Yuletide Aversion Syndrome) commonly creep up on gay men after manopause.
Composer Philip Venables talks about queer utopias and bending gender and genre in The Faggots and Their Friends Between Revolutions which opens at the Park Avenue Armory this week.
Are today’s stars enough to sustain Andrea Chénier?
As Messiah season begins, Christopher Corwin reports on two of Handel’s forays into the Old Testament.
I never thought an opera production could be this well done.
Austin Opera’s 40th anniversary gala celebrated the present while gesturing boldly towards the future.
Jeanine Tesori’s Blue is an ambitious and worthy opera that deserves a better presentation than it got at Lincoln Center on Saturday.
With Cesare’s old-school rules of war set spinning by Cleopatra’s Bollywood-inspired manipulations, a Da Capo aria has never felt more dangerous
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
A brief concert at the Frick Collection teases the multifaceted artistry of Davóne Tines
My first reaction in 1974 wasn’t good. The production was full of stairs, and I was afraid Montserrat Caballé would fall at any moment.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
A new production of Parsifal at San Francisco Opera stirred something deep inside Michael Anthonio about how music soothes the soul
Shirin Neshat‘s Aïda in Paris is a typical instance of what happens when an artist is brought in to direct an opera.
Dmitry Matvienko led a performance of Mussorgsky and Shostakovich at La Monnaie with meticulous rectitude.
Buoyed by a strong cast, The Metropolitan Opera continues its autumn bel canto streak with a winning revival of Donizetti’s La fille du regiment.
Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
Seeing Sondra Radvanovsky as Medea at Lyric Opera of Chicago sprawled across the floor, soaked in her children’s blood, is proof that we’re witnessing an utterly haunting singer-actor.
Parterre Box features an exclusive sample of Lawrence Brownlee‘s jump-in performance in La sonnambula from this weekend
‘Comfort opera.’ Hmm… I had to give this one some thought.
The old Nilsson/Corelli radio checks from the 1960s are a reminder that what this opera needs are VOICES.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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