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.
This Sony Classical set of live performances covers a golden quarter century in the singing and staging of Wagner. Birgit Nilsson shared it with many other legends, and many of them appear on these discs.
Soprano Patricia Racette is superb in La Voix Humaine, a work that she makes absolutely her own.
Soprano Ashley Marie Robillard and mezzo Siena Licht Miller evoke a journey to Paris, Venice, Berlin, and London.
It would be hard to imagine a more apt and poignant metaphor for the ambitious O18 Festival than the world premiere of Lembit Beecher and Hannah Moscovitch’s Sky on Swings.
In Hatuey, composer Frank London and librettist Elise Thoron have created something that crosses boundaries from cabaret romance to flashback historical pageant to revolutionary thriller.
The career of our beloved Renée Fleming deserves to continue… by whatever means necessary.
Lightning struck again here when, after a wait of 39 years, San Francisco Opera unveiled a new production of Donizetti’s Roberto Devereux.
San Francisco Opera opened their 2018-19 Season Friday with a double bill of Italian verismo operas, Cavalleria rusticana and Pagliacci, which made a welcome return to War Memorial Opera House after 15 years.
The Stars of Lyric Opera weren’t under the stars last night, prevented by a persistent cloud bank, but they nonetheless provided a stirring evening of music in Chicago’s Millennium Park.
Orfeo’s latest edition is a 1978 performance of Lucia di Lammermoor with a very estimable cast that on its surface may seem a tad mundane but the extensive liner notes (with performance photos) tell the story of why it held such magic.
Sunday, August 26, marked the inaugural performance for the newly-created The Claude Heater Foundation with a concert performance of Wagner’s Tristan und Isolde in the Herbst Theatre.
Tanglewood may bring the classical music crowd to Lenox, but for opera, it’s all about neighboring Pittsfield, Mass.
The Lamplighters Music Theatre opened their 66th season in SF last Saturday with triumphant performance of Gilbert and Sullivan’s The Pirates of Penzance.
Salieri’s La Cifra (“The Cipher”) played all over Europe for 20 years, in several translations (German, Spanish). Then, like many a worthy work, it was forgotten.
Of all Handel’s oratorios, Semele begs most to be staged.
“Fleming does not have the acting skills to convince as a hearty clam-shack proprietress…”
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.
