People these days often exclaim “…..is everything!” but often it feels like gross hyperbole. But surely anyone who has seen Mark Morris’s L’Allegro, il Penseroso ed il Moderato since it premiered in 1989 would agree that it is indeed everything!
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
Gluck’s sublime Orfeo ed Euridice makes a welcome return to the Met.
Mark Morris’ saucy, psychedelic The Hard Nut has returned to the Brooklyn Academy of Music yet again this week for its 27th Christmas since the ballet premiered in Brussels.
Sometimes the fates conspire, preventing an artist from recording the role for which he is his generation’s touchstone.
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
Idomeneo proved enormously moving while a much more complicated Così fan Tutte went for shallow romantic hijinks stripping that work of its darkly ambiguous disturbing view of love.
Mark Morris’ staging of Acis and Galatea at Lincoln Center is everything good about summer condensed into two hours.
Lincoln Center hosted two milestones this week.
After 23 years, the Queen of Carthage has finally made it to Manhattan.
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.
