Le nozze di Figaro in Santa Fe is a light and kindly revival while The Turn of the Screw is crisp and atmospheric
The Santa Fe Opera’s fine first Die Walküre finds Wagner in America at a crossroads.
Rigoletto at The Santa Fe Opera is a near miss.
La bohème at The Santa Fe Opera feels warmed over in more ways than one.
Jacquelyn Stucker leads a performance recorded last month in Santa Fe
Tobias Kratzer‘s Das Rheingold in Munich kicks off a Ring for the post-secular age
A performance recorded earlier this summer at The Santa Fe Opera
Sherrill Milnes sits down with Brendan Latimer to talk about his life, career, and what he hopes to pass along to the next generation
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
While the thoroughly established Lawrence Brownlee reprises his familiar Count Almaviva in the Met’s Barbiere di Siviglia, parterre box calls your attention to another Mr. Brownlee making waves: Nicholas Brownlee.
Breaking the Waves and Tannhaüser at Houston Grand Opera are a can’t-miss doubleheader of sex and miracles.
Some people were introduced to the art form listening to the Met’s NBC broadcasts on a glowing tube radio or watching acid-trip animated adaptations on the BBC or seeing Elmer Fudd sing, “Kill the Wabbit.” I came to opera through simulated drive-by shootings soundtracked by The Marriage of Figaro.
Hoping to speed up the arrival of spring, parterre box coaxes you to Michael Spyres‘s blazing pira with an in-house sampling of his Manrico from last fall’s Il trovatore in Houston.
A live streaming performance from The Dallas Opera.
After a flurry of coverage over the past weeks, Opera Lafayette, in partnership with New Orleans’s OperaCréole, finally premiered Edmond Dédé’s Morgiane, ou Le Sultan d’Ispahan in DC last night.
An 1887 French grand opera by a Black American composer receives its world premiere with Opera Lafayette and OperaCréole next week and is raising questions about the potential of “restorative justice” in the operatic canon.
While everyone tries to figure out what on earth Strauss and Hofmannsthal are up to in Die Frau ohne Schatten, now playing at the Met, Chris’s Cache offers a later, simpler, shorter Strauss with three live broadcasts of his “bucolic tragedy” Daphne.
Austin Opera’s 2024 production of The Manchurian Candidate proved to be a daring and timely commentary on political power in America, shortly after the 2024 election, just as it had been before the 2016 election.
A revival of Huang Ruo’s M. Butterfly, a co-production between the Barbican and BBC Symphony Orchestra, landed in London last week.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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