“Call me traditional, but I want to see a silver platter!”
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.
A starry (and potentially annual) Christmas gala lights up Carnegie Hall.
Juan Diego Flórez and Damiano Michieletto concoct an absinthe-fueled fever dream in a new DVD from The Royal Ballet and Opera and Opusarte.
Matthew Polenzani charms the pants off of Philadelphia.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
Across three evenings at the 92nd Street Y, Konstantin Krimmel and Ammiel Bushakevitz traversed all of Schubert‘s major song cycles with stark intensity.
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.
“This isn’t an opera that touches on queer themes; it’s a bundle of queer themes tied up in an opera.”
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.
Barbara Strozzi links two sensuous programs by L’Arpeggiata and Catapult Opera.
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.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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