The Lehman Trilogy had me in its thrall from the moment the lights went up. It’s absolutely spellbinding. That’s not to say I endorse it wholeheartedly, though.
By David Fox
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It’s back to business as usual at the Met, for better and for worse.
Hie thee hither to the Lyric Opera House!
By Henson Keys
I can’t imagine anyone watching this two-hour schlockfest at home and then dropping $150 for the privilege to see it again, masked and in an uncomfortable chair.
The cabaret at Saint Ann’s Warehouse delivered frothy fun and a dollop of pathos with Anthony Roth Costanzo and Justin Vivian Bond in Only an Octave Apart.
A snarky commentator might dub last night at the Met “Boris of the divo hair flip” but that would do a disservice to a serious, often effective performance of the challenging original version of Mussorgsky’s masterpiece.
With composer Terence Blanchard and librettist Kasi Lemmons‘ incendiary Fire Shut Up in My Bones, the Met makes long overdue history and Will Liverman ascends to superstardom.
This is an exuberant, uplifting, and joyous Elisir, and, for once, it was actually laugh-out-loud funny.
By Henson Keys
New Camerata Opera is presenting its first staged and indoor program in some time, at “The Muse,” a lofty cabaret space up against a cemetery in Bushwick, and their singers sound like they’ve been champing at the bit for eighteen months and are bursting to vocalize!
By John Yohalem
Call me Mary Quite Contrary if you want, but as we finally see live performances coming back, I’m reflecting with gratitude and even some nostalgia on the way COVID quarantine forged a path for entrepreneurial performance companies to recalibrate and deliver their work through streaming platforms.
By David Fox
The program was set around themes of loss, of unfulfilled wishes, the endurance of loss, triumphant or depressed.
By John Yohalem
Let’s all cast our minds back to March of 2020. Or, better, let’s not.
By Patrick Mack
After the break the ladies stepped up their game so much that it elevated the night into legendary status: definitely one for the books!
This was a great and happy event, but it wasn’t so much a musical one.
By John Yohalem
Last weekend, On Site Opera presented What Lies Beneath, a program of maritime-themed operatic excerpts staged aboard the 19th century schooner Wavertree (now a part of the South Street Seaport Museum).
Lawrence Brownlee and Michael Spyres are two singers at the top of their game, as this concert showed, virtually peerless in music as punishing as it is pretty.
Bay Street Theater deserves enormous credit for transforming Camelot from a clumsy historical epic into a breezy, human fairytale about leaders who cannot lead.
By Harry Rose
The San Francisco Opera became the first US opera company to present a full-blown production indoors on its home turf this season when they ushered the US opera audience into 2021-22 Season on Saturday September 21 with a stellar performance of Giacomo Puccini’s perennial favorite Tosca.
Concerts at Wolf Trap, mixed bags in more ways than one, provided fleeting glimpses of the old normal as moments of frisson mingled with more familiar monotony.
By Harry Rose
Who’s been hiding tenor Benjamin Bernheim from me all this time?
By Niel Rishoi
Like many composers of his generation, Ernest Chausson was enthralled by Wagner and he too turned to legend for his only opera, one that would consume him for final decade of his brief life.
For this revival of Tosca Teatro Real has configured several casts with some of the best singers in the world: Sondra Radvanovsky, Maria Agresta, Anna Netrebko, Joseph Calleja, Michael Fabiano, Yusif Eyvazov, Jonas Kaufmann, Carlos Álvarez, Gevorg Hakobyan and Luca Salsi.
Last night, for the first time in nearly a year and a half, opera returned to Lincoln Center.
As soon as James Clutton, the new Opera Holland Park director, stepped on stage to welcome the audience, we all knew that we were not at the typical English summer opera festival.
