Which side story?
Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
A joint Beethoven–Adams program conducted by Dima Slobodeniouk suggests a way forward for the embattled Boston Symphony Orchestra.
The countertenors conquer the day in Handel‘s Giulio Cesare in Egitto at the Deutsche Oper Berlin.
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.
Bluebeard’s Castle and Erwartung at Canadian Opera Company deliver on fine performances even if Robert Lepage‘s production skimps on horror.
Barbara Hannigan mesmerizes as both a brilliant vocalist and a proficient opera conductor in a double bill of Strauss and La voix humaine with the New York Philharmonic.
A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
Dull conducting makes Der Freischütz miss its mark at Carnegie Hall.
Ten years since the death of countertenor Brian Asawa, Charles Stanton remembers his friend and corrects the record on his untimely passing.
SoCal goes Scandi in two recent concerts, with one featuring an appearance by Lise Davidsen.
Golda Schultz soldiers through illness at the New York Philharmonic.
The Chicago Symphony Orchestra explores love and death in an intense, intelligent program featuring soprano Corinne Winters.
The embattled Andris Nelsons and the Boston Symphony Orchestra bring Adams and Dvorák to Carnegie Hall.
Golda Schultz casts darkness in an alluring light in an intimate recital at the New Orleans Opera Festival.
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