Celebrate good times
Austin Opera’s 40th anniversary gala celebrated the present while gesturing boldly towards the future.
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.
J’Nai Bridges makes a sophisticated companion to the Morgan Library & Museum’s Renoir Drawings exhibit.
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.
Matthias Goerne‘s Die schöne Müllerin at Carnegie Hall offers a hoary and excessive collection of mannerisms and vocal tics that served the artist more than the music itself.
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.
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