I have a confession to make. I have been taking Rigoletto for granted.
Mozart was barely sixteen when he wrote Lucio Silla to open the Carnival in Milan in 1772.
Asking the musical question, “They say we know why the poor sleep three in a bed, but why do the rich?
Heartbeat is, after all, a company that loves to tinker.
While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.
By the end of the first act, it was clear to me that I was experiencing an artist performing at her absolute peak.
The Verdi Chorus celebrated their 35th anniversary with their spring concert weekend entitled The Force of Destiny last Saturday night and Sunday afternoon.
A revival of My Fair Lady at Lincoln Center makes a muddle of the show’s thoughtful elements and isn’t particularly funny either.
Just a few years back it would have been seen as ridiculous to put “Lyric Opera of Chicago” and “Jesus Christ Superstar” in the same sentence.
How do you like your Carmen? Mezzo or soprano? Flirtatious? Confrontational? Smolderingly sexy?
The new cast at the Met suggested an alliterative retitling of Lucia di Lammermoor was needed—perhaps Lost Loonies in Love or its Italian equivalent?
b>Lawrence Brownlee, star tenor of stage and NFL games is a real “pillar of the community.”
Plácido Domingo’s conducting reduced the score’s urgency to the lethargy of a jellyfish.
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
Julia Bullock revisited a few well-trodden song cycles and lieder but pointed up their hidden politics.
Celebrating Lenny’s 100th this year has made Candide ubiquitous at opera houses worldwide.
I had my head in my hands groaning in disbelief instead of joining in the general applause around me.
April brought I Puritani to Palermo’s centerpiece Teatro Massimo.
As far as prewar Italian verismo goes, L’amore dei tre re is a supernova.
Why, only now, Cendrillon is having its premiere at the Met is a puzzling question.
This revival of Phyllida Lloyd’s 2002 Macbeth production was probably the most anticipated event of the Royal Opera House 2017/2018 season, due mostly to Anna Netrebko’s return to Covent Garden after a three-year absence.
Writing an opera for kids based on Neil Gaiman‘s successful children’s novel Coraline must have been a double challenge for Rory Mullarkey and Mark-Anthony Turnage.
It’s fortunate that the Met’s production of Luisa Miller featured the incomparable Piotr Beczala in the role of Rodolfo.
A new production of La traviata by Daniel Kramer, the current artistic director of ENO, brings fresh ideas to the classic drama.
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.
