Kiss Me Kate is a sophisticated soufflé of a show: a comedy of manners, requiring effortless verve and elegance in the playing.
Amore Opera, one of New York’s smaller opera companies, is presenting the first local run of Dinorah, ou le Pardon de Ploërmel since before the war.
Teatro Real continued their 200 years’ celebration by premiering a piece that they have never done before, Francesco Cavalli’s opera La Calisto.
I’ve never liked the term “crossover.”
Soprano Iulia Isaev proved to be in just about every way a lovely Tosca.
Austin McCormack‘s lascivious choreography outshone a tepid and tedious staging of Saint-Saëns’s old-testament epic.
Is there any opera that can take more of a beating while still making an impact than Eugene Onegin?
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
The Metropolitan Opera delivers on the promise of Wagner’s Gesamtkunswerk in a revival of Robert Lepage’s Ring.
Hearing Lucas Meachem perform Kindertotenlieder in the crypt of Harlem’s Church of the Intercession was a heart-warming, and ultimately uplifting experience.
Così fan tutte, Mozart’s final Italian comedy with Lorenzo Da Ponte, is this season’s heaviest lift for Philadelphia’s Academy of Vocal Arts (AVA).
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
The most disappointing performance in 30 otherwise glorious years of William Christie and Les Arts Florissants visiting New York City.
Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)
West Bay Opera’s sterling production of Verdi’s I due Foscari played over the last two weekends.
Tenor Matthew Polenzani and pianist Julius Drake’s performance left this listener in a a state of euphoria.
What happens in Karlsruhe stays in Karlsruhe!
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
The full title of the opera pretty much describes the plot: Il mondo alla roversa osia Le donne che comandano.
We humans tend to dislike uncertainty, therefore there is something comforting going to opera revivals; you know exactly what you are going to get.
The Day Before Spring , while not exactly experimental, shows a young and adventurous team thinking both traditionally and out-of-the-box.
You’d want to expect that every Met retread would draw the same curiosity, the same large crowds, to Lincoln Center.
Porgy and Bess, George Gershwin, Ira Gershwin and DuBose Heyward’s 1935 “folk” opera, graced the stage of Dutch National Opera for the first time last month, and it was resounding success from start to finish.
The “Red Priest” of Venice once made reference to his “94 operas” in a letter to his patron.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
