Matthew Polenzani charms the pants off of Philadelphia.
Across three evenings at the 92nd Street Y, Konstantin Krimmel and Ammiel Bushakevitz traversed all of Schubert‘s major song cycles with stark intensity.
In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
A consideration of Anika Kildegaard’s extraordinary recital in Philadelphia—and the oddity of recitals themselves.
Some of my blog‘s habitués (they do exist) will know that I sometimes quote the people around me at the opera.
Karim Sulayman’s intentions are to demonstrate links and roots, in themes musical and poetic, crossing every boundary of culture, religion, nationality, genre.
Julia Bullock seems to fission herself multiple times over during the course of her newest, widely ranging recital program.
In a lovingly curated program of art songs, Ying Fang and the pianist Myra Huang presented pieces hailing from four different national traditions.
Sondra Radvanovsky eschewed the customary stuffiness of the recital format, often speaking directly to the audience and putting her selections in a highly personal context.
Countertenor Aryeh Nussbaum Cohen‘s star is surely on the rise.
Emily D’Angelo, in a moment of subversion, sang the entire program wearing casual trousers, a vest, and chunky combat boots, her cropped hair slightly mussed, and wearing only light make-up.
Ms. Damrau unleashed a Blitzkrieg of charm upon her audience.
Kennedy Center could not have predicted just how aptly Saturday evening’s rescheduled recital of 2020 Marian Anderson Award winner, baritone Will Liverman, would respond to the moment.
Fueled by a fierce intelligence, deep earnestness, exceptional eloquence, and social media savvy, Joyce DiDonato is a presence and a power, as much when speaking and thinking as when singing. Who better to imagine a program that would suit this (we hope) unique moment?
Over the past two decades, the understatedly beguiling Sasha Cooke has inched chronologically inwards in her subtle conquest of swathes of mezzo concert repertoire.
Rosa Feola immediately established with her first group that she’s a serious artist who brought to the concert format both a warmly appealing coppery soprano as well as detailed and savvy dramatic instincts.
Sunday evening Los Angeles Opera presented tenor Javier Camarena in recital to a wildly enthusiastic audience from the stage of the Dorothy Chandler Pavilion.
Christian Gerhaher delivers a Kindertotenlieder of such conciliatory tact that it erases all others.
At the Park Avenue Armory, Barbara Hannigan chose to sing works that tested her metal in odd corners of vocalism.
I’ve never liked the term “crossover.”
Hearing Lucas Meachem perform Kindertotenlieder in the crypt of Harlem’s Church of the Intercession was a heart-warming, and ultimately uplifting experience.
Tenor Matthew Polenzani and pianist Julius Drake’s performance left this listener in a a state of euphoria.
There are, on rare occasions, moments in a live performance where some intangible symbiotic relationship between audience and performer creates an instant that borders on the sublime.
Sunday’s sold out Carnegie Hall recital became a veritable love-fest between the Peruvian tenor and those assembled in the Hall.
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.
