Alone in the world Alone in the world

Step aside, Texas: “Everything is bigger at Aida” is the motto of the Met’s second attempt at retiring Sonja Frisell’s colossal production.

on December 03, 2022 at 9:28 PM
That indescribable feeling That indescribable feeling

Alma Deutscher’s quest for beautiful music permeates the score of her Cinderella from the hushed opening of the Overture.

on December 02, 2022 at 9:00 AM
A star is porn A star is porn

Show business fables often involve an ambitious, if naïve, ingenue (male or female) desperate for fame.  This young wannabe finds fame and fortune: but it comes at a cost.

on November 25, 2022 at 12:17 PM
The sense of dramatic thrust The sense of dramatic thrust

Soprano Lydia Grindatto confirmed the fine impression she had made at Giargiari vocal competition with a charismatic, thoroughly inhabited performance that showed careful preparation in every aspect.

on November 25, 2022 at 11:27 AM
Unhappy ‘Hours’ Unhappy ‘Hours’

The film of The Hours failed to effectively weave together the novel’s trio of threads of interiority about suicide and secondarily literary creation. I wondered if an opera would stand a better chance at achieving that?  Based on Tuesday’s diva-encrusted stage premiere of Kevin Puts and Greg Pierce’s The Hours, its creators didn’t pull it off either.

on November 23, 2022 at 12:16 PM
Three dimensions Three dimensions

Lyric Opera of Chicago’s Don Carlos was a real feast of good singing and orchestral grandeur.

on November 21, 2022 at 1:02 PM
Better off dead Better off dead

I have a horrible confession. I’ve always judged the quality of an opera largely on the number of dead characters at the finale.

on November 21, 2022 at 11:32 AM
Everything old is new again Everything old is new again

All things were, indeed, made new again, when Boston’s venerable Handel & Haydn Society brought Mozart’s Le nozze di Figaro to the stage, their first time doing so in its entirety, as their 2,576th concert on Thursday.

on November 21, 2022 at 11:02 AM
Good grief Good grief

There are no words superlative enough to describe this celebration of Orpheus’ grief, and I truly applaud San Francisco Opera for presenting such food for thought that will definitely resonate long after with me.

on November 19, 2022 at 11:34 AM
Love, loss and what she wore Love, loss and what she wore

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.

on November 17, 2022 at 8:11 AM
Color my world Color my world

San Francisco Opera has unveiled a brand-new production of Giuseppe Verdi’s warhorse classic La traviata, the first “to be built in San Francisco Opera’s scene and costume shops in 35 years.”

on November 16, 2022 at 10:06 AM
Down for the comte Down for the comte

Lyric Opera of Chicago’s Le Comte Ory was a lovely cake with waaaay too much frosting.

on November 15, 2022 at 1:31 PM
Back to the future Back to the future

After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.

on November 15, 2022 at 12:03 PM
Romantic hero Romantic hero

The main reason to see this revival is Benjamin Bernheim’s Duca.

on November 12, 2022 at 8:31 AM
Remember in November Remember in November

Trouble was afoot from the first selection onward.

on November 10, 2022 at 11:00 AM
Clear, crackling, comprehensible Clear, crackling, comprehensible

Davóne Tines has sung with Early Music groups and avant-garde ones, and he has a taste for projects that cross artistic boundaries, which suits an innate showmanship.

on November 10, 2022 at 9:00 AM
Spark plug Spark plug

Countertenor Aryeh Nussbaum Cohen‘s star is surely on the rise.

on November 09, 2022 at 11:01 AM
Coups de theatre Coups de theatre

This month, both the Paris Opéra and the Opéra-Comique are mounting seminal works about unhinged anti-heroines who meet their downfall after falling head-over-heels for an unavailable, deeply unattainable man – Salome, in the case of the Opéra; and Armide, in the case of the Opéra-Comique.

on November 07, 2022 at 11:04 AM
Disorientation Disorientation

Teatro Nuovo took a big risk in a bad way on Wednesday with its revival of Rossini’s Maometto II.

on November 05, 2022 at 12:00 PM
We’ll always have Paris (or maybe not) We’ll always have Paris (or maybe not)

The revival of Don Carlo(s) which opened on November 3 restored the translated Italian text and the cut 1882 four-act revision not seen at the Met since Rudolf Bing’s last season in 1972.

on November 05, 2022 at 9:00 AM
He plays the violin He plays the violin

The pandemic had different effects on different people. 

on October 31, 2022 at 12:00 PM
“The work by which I stand or fall” “The work by which I stand or fall”

Dame Ethel Smyth’s third opera, The Wreckers, opened at Houston Grand Opera on October 28 and runs through November 11.

on October 31, 2022 at 10:00 AM
On a par with tuberculosis On a par with tuberculosis

Come back, Big Clock! We need you more than ever!

on October 27, 2022 at 10:00 AM
Leaner, meaner and tighter Leaner, meaner and tighter

Why did Ted Sperling and MasterVoices choose to perform an old warhorse like Carmen which has been produced almost continuously over decades just up the street at Lincoln Center?

on October 26, 2022 at 3:03 PM