Will Liverman and Kiera Duffy brought an eclectic program to their jovial post-blizzard recital at Rhode Island College.
Baritone John Brancy smoothly traverses the American songbook at Carnegie Hall.
Samantha Hankey’s Composer is the standout in the Wiener Staatsoper’s episodically sublime Ariadne auf Naxos revival.
Jake Heggie and Gene Scheer’s Grammy-winning Intelligence makes a largely successful East Coast debut at Virginia Opera.
The Ralph Fiennes production of Eugene Onegin at the Paris Opera is just…fine.
The St. Louis Symphony Orchestra under conductor Stéphane Denève plays up the schtick in a concert performance of The Magic Flute – and obscures Mozart’s magic in the process.
Joyce DiDonato makes the most of Kevin Puts‘s trite new Emily Dickinson monodrama.
That Trump opera at the Staatsoper Hamburg is lazy activism at its finest, we fear.
An excellent Věc Makropulos at Opéra de Lille makes the case for the vitality and necessity of France’s regional companies.
San Diego Opera presents a strongly directed and cast revival of Il barbiere di Siviglia.
In Modena, Teodor Currentzis‘s Ring ohne Worte foregoes words but not gimmickry.
Marina Rebeka comes tantalizingly close to triumph in Cherubini’s Médée at Théâtre des Champs Elysées.
Under the baton of Nicholas McGegan, Philharmonia Baroque Orchestra & Chorale proves they have a magic touch in a program of Rameau and Handel.
Austin Opera’s moving production of Fiddler on the Roof grounds itself in lived tradition, to great effect.
Davóne Tines leads a thought-provoking program in San Francisco reconsidering patriotism, dissent, and spirituality as the United States faces down its quarter millennium crisis.
La Monnaie’s flamboyantly busy new production of Benvenuto Cellini reads more burlesque than Berlioz.
Die Entführung aus dem Serail boldly goes where no opera has gone before at Pacific Opera Project.
Iván Fischer‘s Mahler 3 with the Budapest Festival Orchestra at Carnegie Hall is memorable but crude, sometimes exhilarating and often tedious.
A chic production of Violanta at the Deutshce Oper Berlin continues the Korngold craze on the other side of the Atlantic.
Das Wunder der Heliane fuses sex with the sacred at a simmering performance at the Opéra National du Rhin.
The vivacious MANON! at Heartbeat Opera makes a strong case for the return of opera in translation.
Simon Boccanegra has never felt as foreboding or prophetic as it did at a recent performance at La Fenice.
A stark, sweltering performance of Lady Macbeth of Mtsensk shocks the Komische Oper Berlin.
With Siegfried, the directorial vision of the Paris Opera‘s Ring cycle finally takes root.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
