Diana Soviero chats with Roger Pines about six decades of performing, four decades of teaching, and how she’s handing the tradition off to the next generation.
Iván Fischer‘s Mahler 3 with the Budapest Festival Orchestra at Carnegie Hall is memorable but crude, sometimes exhilarating and often tedious.
Juan Diego Flórez‘s charm and artistic sensibility remain as vibrant as ever, as seen at a recent Carnegie Hall recital.
Heavy-hitters: the first complete Ring in its history, Tosca with Marina Rebeka, Jonas Kaufmann, and Ludovic Tézier; plus recitals from Aigul Akhmetshina, Nadine Sierra, Jeanine De Bique, Michael Spyres, and more
The vivacious MANON! at Heartbeat Opera makes a strong case for the return of opera in translation.
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.
Easily the Met’s new Sonnambula, where cast and production team delivered a gorgeously sung and well thought out concept for a libretto often derided for its simplicity.
Salome sweeps in like a storm at the Lyric Opera of Chicago.
Franz Welser-Möst leads a rigorous, if emotionally staid, performance of Verdi‘s Requiem at Carnegie Hall.
A Strauss rarity receives a ravishing concert performance at Seattle Opera.
Christina Nilsson‘s successful Met debut as Aïda was for me one of the shining highlights of the 2025 season.
Lise Davidsen‘s first Isolde is only one of the highlights of Tristan und Isolde at the Liceu in Barcelona.
The 20th anniversary revival of Richard Foreman and Michael Gordon‘s What to Wear at the PROTOTYPE Festival showcases a fabulous ensemble.
Anticipating the titanic arrival of Lise Davidsen‘s Isolde in New York in March, Parterre Box is thrilled to share a bit of her debut opposite Clay Hilley recorded in Barcelona last week.
Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
I can’t say 2025 was my best operagoing year; apart from a superb Fille du régiment, most of my good nights at the opera were decidedly mixed affairs.
The oddball pairing of Bernie Williams and Jonathan Tetelman doesn’t quite knock it out of the park at Carnegie Hall.
What do you get when you blend innovative 17th century composition, 1970s family drama, and one of the most sordid tales of the New Testament?
Sarah Kirkland Snider’s Hildegard gives the Middle Ages the Bridgerton treatment at the Prototype Festival.
A pairing of rarities makes for an inspired evening with the Brooklyn Art Song Society.
Nearly three years after the premiere of François Girard’s Lohengrin at the Met, Parterre Box looks back at the production with a duet from Piotr Beczala and Elena Stikhina.
A high-drama Vanessa by the Boston Symphony Orchestra offers something to believe in.
Dan Johnson on the unique voice of Hildegard composer Sarah Kirkland Snider — and why some music could only ever be written by a woman.
A messy new I puritani at the Met is a historic and historical disappointment.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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