Dmitri Tcherniakov’s interpretation of Wagner’s Der Fliegende Höllander presents an engrossing character study about Senta and the Dutchman’s struggles against their insular community’s stifling conformism.
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Love makes fools of us all – that seems to be the theme of this summer’s Glimmerglass Festival.
Don’t cry for me, Birgit Nilsson
You probably won’t leave Idomeneo ready to burst out in song, but what the opera lacks in melodic immediacy it makes up for in sheer virtuosity.
Jay Scheib’s Augmented-Reality Parsifal is a cautionary reminder that technological innovation shouldn’t absolve directors from the exacting work of deriving intelligent and fascinating theater from the source material.
In Nike Wagner’s essay “The Sounding Silence,” the German dramaturge argues that “the longing for deathrepresents the central motif” of her great-grandfather’s opera Tristan und Isolde.
At the heart of Tobias Kratzer’s incisively rollicking production of Tannhäuser lies a metanarrative that maps Wagner’s early political and artistic challenges onto its hero’s philosophical struggles.
When my editor suggested to me a round-up of my favorite recordings of Jacques Offenbach’s Les Contes d’Hoffmann I was très, très, intrigued.
Can György Ligeti‘s only opera be understood as the composer’s own grappling with trauma, death, and memory of a past life?
Folks who have never attended a full-length, uncut Giacomo Meyerbeer grand opera have been known to pout and ponder: Why did the most popular opera composer of the mid-nineteenth century all but vanish from the stages of the world after a hundred years?
As a burgeoning opera fan, I relied on YouTube to connect me with the art form.
Too young to be in love. But not too young to go to war or to die.
Pelléas and Mélisande are not transparent to themselves. Which means: they each have an unconscious.
This July, Munich played host to hordes of football fans in town for the European Championship—and arguably the two finest working sopranos today.
The rule that governs Dante’s Inferno is called the “contrapasso” – that every sinner is given a punishment in poetic proportion to their crime.
During the 1970s, Stephen Sondheim composed Company, Follies, A Little Night Music, Pacific Overtures and Sweeney Todd–five richly varied masterpieces of musical theater in a nearly miraculous burst of creativity.
As revivals of the composer’s sprawling works represent a daunting expense for many opera houses, exceptionally cast recordings of such concert performances serve as valuable documents that foster appreciation for his achievements.
Not too long ago, Benjamin Bernheim gave an interview to Opéra Magazine in which he stated “Je ne suis pas un top model.”
Some operas carry around the shadow of their most famous interpreters more than others.
Mixing the historical with the personal in strikingly original ways, Davóne Tines and Zack Winokur’s Robeson sent sparks out over the Hudson.
The outdoor recitals that the Metropolitan Opera presents in New York City Parks every summer are a wonderful way to showcase rising young stars and promising beginners from the Met’s Lindemann Program.
On Friday, June 21st, Opera Parallèle – the Bay Area nomadic, contemporary opera company – together with the Presidio Theatre unveiled their final production of the season, the West Coast premiere of Gregory Spears and Greg Pierce’s Fellow Travelers, an adaptation of Thomas Mallon’s 2007 novel of the same name.
PRISM Quartet teams up with Tyshawn Sorey, David Krakauer, and a host of some of the finest new music musicians and composers in the nation to create Generate Music: a musical exploration of the ties that bind together Black and Jewish Americans.
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