Verdi’s Attila is hardly a rarity in Italy the way it is in the United States.
Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America provides ample fodder for the legions of amateur opera sleuths seeking to confirm their theory of “Who Killed City Opera?”
As opera’s reigning tenor-superstar, Jonas Kaufmann can pretty much do whatever he wants and a sizable adoring public will lap it up.
The news of Nicholas McGegan’s retirement came as quite a shock to me.
It’s surprising to read that, as of this writing, La fanciulla del west has only had 105 performances at the Metropolitan Opera.
I count myself as privileged to have witnessed Götterdämmerungat the Royal Opera House during this season’s revival of Keith Warner’s Ring.
For this revisiting of Tosca, San Francisco Opera decided to highlight the glamorous lifestyle of the Italian soprano Carmen Giannattasio.
The conclusion of our Fanciulla del West video overview in three parts looks at a trio of performances from the 2010s.
“What emerges from this handsome but sentimental film is a portrait of the artist in decline, cocooning herself in defensive victimhood.
America’s longest-standing theatrical lightning rod, Robert Wilson premiered his ethereal, time-collapsing production of Le trouvère.
Puccini’s Girl closes out the 20th century and gallops into the 21st.
On Thursday, Puccini’s seventh opera, the California Gold Rush romance La fanciulla del West, returns to its birthplace for its first Met performances since 2011.
“Are we Team Guelf or Team Ghibelline?”
Opera Philadelphia’s O18 Festival continues through the weekend, but Friday represented a finale of sorts with the last two premieres.
Hunger was the note of the night, a sentiment shared between the audience and Proving Up, a lean and hungry one-act telling a story of drought and desperation on the post-Civil War Western frontier.
Anna Netrebko is the greatest performing artist singing opera today. Nobody else comes close; she makes me love her in a way that verges on the erotic.
I braved the alarming and majestically colorful wall-graffiti-art of Bushwick to attend Bullfight Boylesque, which runs to October 28.
On Tuesday we got one of the Met’s inveterate classics, which meant yet another opportunity to gaze upon the old accessories: Donkey cart! Teal shawl! Fugly plaid slacks!
“Fricka is on fucking vacation.”
For opening night 2018, the Met offered the creaky but appealing biblical epic Samson et Dalila, presumably as a vehicle for Elina Garanca and Roberto Alagna.
Odyssey Opera in Boston, which loves to open its season with a concert performance of some forgotten work, gave La Reine de Saba in Jordan Hall Saturday night.
Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.
For opening night of the new LA Opera season Placido Domingo decided to return to one of his best Verdi showcases, Don Carlo, only this time as the baritone, Rodrigo the Marquis di Posa, instead of the title character.
Those who want a rethought Lucia to allow the heroine more sense of agency will be especially confounded at Laurent Pelly’s reading.
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.
