The Met season’s final performance of the Donizetti romcom begins at 1:00 PM.
STEMdiva status
Ahead of a special boozy, bawdy Valentine’s Day concert, artistic director of Opera Lafayette Patrick Quigley speaks with soprano Maya Kherani about her journey from MIT to rising American Baroque star.
Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)
If Glenda Jackson, who is 82 years old, can whip through King Lear in two hours and 45 minutes, then how is it that La Traviata at the Met slogs on for over three hours?
It’s an 8:00 PM curtain tonight for the Met’s Falstaff.
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
On New Years’ Eve 2019 the Met will offer a gala truly worthy of the name when Anna Netrebko sings acts from La bohème, Tosca and Turandot.
That mysterious bass-baritone leads the cast in today’s Met matinee broadcast starting at 1:00 PM.
You’d want to expect that every Met retread would draw the same curiosity, the same large crowds, to Lincoln Center.
The Met’s season premiere of Evviva Las Vegas.
The Met’s creepy double bill is broadcast this afternoon starting at 12:30 PM.
La Fille du Régiment, Donizetti’s half-spoken ode to La France about a girl raised by a division of daddies, is at once infamous and beloved for the string of nine high C’s capping act one.
The Donizetti comedy returns to the Met tonight starting at 7:30 PM.
I was shocked to realize I hadn’t seen Don Giovanni at the Met since Michael Grandage’s stultifying production opened in 2011.
“Can the Diva Who Once Ruled the Met Make a Comeback?”
Nico Muhly‘s psychological thriller.
Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle both use themes of vision and revelation to ask compelling questions about knowledge, responsibility, and gender.
Iolanta was crowned on Thursday evening by Sonya Yoncheva’s haunting portrayal of the blind title character.
The Future Met Wiki’s details on the company’s 2019-2020 season (due to be unveiled a few weeks from now) still includes occasional lacunae as to casting.
I do not envy Jennifer Rowley the task of stepping into Anna Netrebko’s shoes.
Hear the symbols ring as the Met’s moody double bill returns to the stage.
Join le tout Allemonde for this afternoon’s broadcast of Debussy’s apotheosis of evanescence.
The Met is offering federal employees affected by the ongoing government shutdown free tickets.
When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.
Now, you would think nothing could please gaycentric La Cieca more than yesterday’s New York Times profile of the Met’s new music director…
A Baroque Valentine’s with Opera Lafayette | Feb | DC & NYC
Celebrate love in all its guises with tender ballads, amorous duets, cheeky verses, and bawdy drinking songs plus food, cocktails and wine.
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.