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Nina Stemme dances to death with Michaela Schuster, Elza van den Heever, and Johan Reuter in a live performance from Berlin conducted by Kirill Petrenko
A broadcast from last month of the much-discussed London production featuring Ausrine Stundyte, Sara Jakubiak, Karita Mattina, Charles Workman, and Lukasz Golinski conducted by Antonio Pappano
Leos Janacek’s 1904 opera Jenufa could be a rather grim affair.
Richard Strauss’ monumental (arguably his magnum opus) Die Frau ohne Schatten made a triumphant return to the War Memorial Opera House last Sunday June 4 after 34 years.
Nina Stemme’s program guided her audience through a period of musical history that explores themes of love and mortality with texts that traverse emotional extremes.
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
Tristan has been the season-launching opera three times before now, but good luck finding someone to provide a firsthand account of the last time.
I think the sturdier of you will enjoy Nina Stemme’s Elektra from Saturday night at Wiener Staatsoper.
At the Opernhaus Zürich, the coat check is not optional.
The winners of the ninth annual F. Paul Driscoll Awards for Outstanding Achievement in the Field of Excellence (or, as they are colloquially known, the “Opera News Awards”) have been revealed.
La Cieca celebrates (if that is the word) the first snowfall of the season in New York in the traditional manner.
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