Led by Yannick Nézet-Séguin and Yoann Combémorel, the Curtis Symphony Orchestra proves themselves the equal of any major American orchestra in a program of Mahler, Wagner, and Dawson.
Barrie Kosky’s zany production of The Nose time-steps back onto the Komische Oper Berlin stage.
Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
Washington National Opera offered a searing production of Robert Ward’s opera The Crucible, directed by WNO Artistic Director Francesca Zambello, as the second installment in the company’s next chapter.
Opera directors could learn a thing or two from Deaf Broadway’s vivacious performance of Jeanine Tesori‘s Violet.
Lisette Oropesa, Piotr Buszewski, and Luca Salsi feature in a rote revival of Michael Mayer‘s cloying production of La traviata.
El último sueño de Frida y Diego at the Lyric Opera of Chicago is a visual and sonic wonder, but a weak libretto dampens its effect.
Kent Nagano gives a boost to the Opéra national de Paris‘s revival of Nixon in China.
In its first production since departing the Kennedy Center, the Washington National Opera presents a new adaptation of “King of Ragtime” Scott Joplin’s opera Treemonisha.
Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
A sublime Reginald Mobley and the Philharmonia Baroque Orchestra are a balm for troubled times in a program of baroque selections and spirituals.
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
A David Lang premiere at the New York Philharmonic brings a wealth of musical delights — and bodes well for Gustavo Dudamel‘s leadership.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
David Fox and Dan Johnson report on Yannick Nézet-Seguin‘s recent performances of Mahler’s Symphony No. 2 with the Philadelphia Orchestra in Philadelphia and New York.
Baritone Quinn Kelsey’s recital of English-language art songs in partnership with pianist Craig Ketter was a worthy celebration of Vocal Arts DC’s 35th-anniversary season.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Time to Act at Pittsburgh Opera effectively employs Greek tragedy to explore the all-too-common tragedies haunting schools across the United States.
A captivating Asmik Grigorian leads the Bayerishce Staatsoper‘s revival of its Holocaust-set Salome.
American Bach brings out the operatic side of Bach in a program featuring sparkling vocal talents.
Mascagni‘s Zanetto, a slight, Renaissance scene, gets a new recording from the Berlin Opera Group.
Despite some fine performances, Così fan tutte at the Livermore Valley Opera doesn’t quite click into place.
Akhnaten has lost none of its power or glitz at the Los Angeles Opera.
Will Liverman and Kiera Duffy brought an eclectic program to their jovial post-blizzard recital at Rhode Island College.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
