I love Tabori—his staging of Bluebeard’s Castle and Erwartung are among my five favorite opera performances of all time.

Ha ha ha, so gorgeous!

The production is based on the Elisabeth Fritzl story, and it really made me reconsider this opera’s fairy tale storyline.

I never thought an opera production could be this well done.

Les Camilles both agree on this one. And WHY? You ask??!

Barbara Hannigan‘s Lulu is the greatest live performance I’ve seen.

Who are the rats? Why are their tails getting longer? Is Lohengrin a rat trying to free himself from a maze?

At every turn, the preconceived notion of Trovatore was denied, right down to the boxing during the ballet.

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

Barrie Kosky’s incredible production widened and universalized the ending.

The opening of John Dexter‘s production of The Dialogues of the Carmelites (originally produced in English) is one of the most arresting and memorable images I have ever seen.

In a lifetime of opera going I suppose I have seen many transformative productions, but this recent one seems, in the light of the increasing disaster enfolding this country, uncannily pertinent.

I saw this production in HD, and it really shocked me because I was used to the cackling mezzo witch, guardian angels, and gingerbread figures.

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.

My experiences with live performances of Handel’s operas/oratorios has been hit or miss, mostly miss.

I came to The Rake’s Progress with a huge “Show Me” chip on my shoulder.

Lotte De Beer‘s astonishing reading of Aïda at the Paris Opera was a victim both of Covid and the culture wars.

Death is the prima donna in this opera, and Herheim doesn’t let you forget it.