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.
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.
A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
Jonas Kaufmann has a new lieder album called Doppelgänger, but the contents of the album vary depending on how you purchase it.
Surely you agree that piano concerti are inherently political.
Suck it, Joseph Kerman: Puccini’s “Shabby Little Shocker” has outlived you and will probably bury us all.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
The Amazing Adventures of Kavalier & Clay was, somehow, a fun night at the opera—just not one that felt specifically operatic.
When Angela Meade and Michael Fabiano first sang Lucia together as students at AVA few would have predicted that they would go on to sing Turandot 16 years later.
In the pursuit of clowning, Anthony Roth Costanzo’s Galas may have lost sight of “the seriousness of the theme.”
The moral stench seeps through Peter Gelb‘s decision to partner with the Saudi government, but what new sources of funding for the Met don’t have red flags?
Ross Wassermann tracks the development of “Che farò senza Euridice?” — and “J’ai perdu mon Eurydice” — for this month’s Perspectives on an Aria
Nowhere are the contradictions between Wagner’s small-mindedness, his meanness of spirit, and his human insight on clearer display than in Hans Sachs monologue Wahn, Wahn überall Wahn in the third Act of Mesitersinger.
My recollections of Hurricane Katrina, which made landfall in Louisiana twenty years ago today, come with a pair of odd bookends: it starts with Verdi’s Don Carlo and ends with Puccini’s Il trittico.
Chris’s Cache offers Nadine Sierra and Xabier Anduaga, the stars of the upcoming production of La sonnambula, in a performance of another favorite bel canto opera
I’d long ago given up on my Goldilocks search for a “just right” complete Tristan und Isolde recording starring Jon Vickers, my hands-down tenor of choice.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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