It is a physical pleasure to hear Kate Lindsey at close quarters.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
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.
The Met Orchestra under Yannick Nézet-Séguin surges into summer with a mixed program at Carnegie Hall
The Met Orchestra Chamber Ensemble’s Das Lied von der Erde skirts the sublime at Carnegie Hall
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
William Christie curates an evening of French Baroque music in a live broadcast from Carnegie Hall.
If song recitals by opera stars Piotr Beczala and Asmik Grigorian sometimes came up short, Semyon Bychkov’s powerful rendition of the Glagolitic Mass instantly became one of the year’s highlights.
Here’s the bottom line: at Carnegie Hall’s Zankel Hall stage on December 3, Iestyn Davies and viol consort Fretwork made the sweetest sounds I’ve heard from human beings all year.
Montagu James reviews the US tour of the Kirill Petrenko-led Berlin Philharmonic
Lisette Oropesa, a product of the Metropolitan Opera Lindemann Young Artist Program, has not been seen much on the stage of the Met in recent seasons.
I’m old enough to remember when Yannick Nézet-Séguin could do no wrong.
To bring a well-known story to the stage, many methods are available.
Swiss soprano Regula Mühlemann made her New York recital debut at Weill Hall on May 8.
There was much to love in Andrew Ousley’s Tiergarten: a three-night cabaret revue from Death of Classical and part of Carnegie Hall’s Weimar Festival, performed in the vaulted gothic hall of the Church of St. Mary.
Her star is indeed on the rise, but squarely on her terms.
This month: French Baroque from Opera Lafayette, German Requiem at Carnegie Hall, family friendly Haydn from little opera theater of NY, and Wagner’s satin and perfume fetishes?
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
At the parterre box Calendar, nature is refurbishing herself. Spring varieties abound with the usual Met fare and all manner of recitals and rarities. We’ve got our eyes on these from our friends and sponsors.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
Life was a Cabaret, you chumps!
The past seems to be in conversation with the present.
How many hours of our lives are spent looking back?
Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
Boston Symphony Orchestra recently confirmed an infinitely renewable contract upon Andris Nelsons, its music director since 2014. To understand why, one needed little more evidence than the outfit’s recent visit to Carnegie Hall.
