I was overjoyed by the coincidence that Santa Fe Chamber Music Festival would be presenting Façade.
The theme was “Lyrics by Shakespeare.”
Last weekend marked the opening night for West Edge Opera: Debussy’s Pelléas et Mélisande.
This past weekend was a busy one for operas in San Francisco (and Bay Area).
To heck with Bayreuth and Salzburg, Glimmerglass and Santa Fe as Rosa Feola sang Mozart at Lincoln Center Friday night and I wouldn’t have been anywhere else!
Bard cultish Summerscape series continues to test our esoteric limits with Demon, Anton Rubinstein’s little-known opera about a demon who hankers for a Georgian princess.
Broadway’s new Head Over Heels is anything but under committed; it’s a show with an irresistibly fun spirit and an infallibly good heart.
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
Stefan Herheim productions may be many things, but they’re always theatrical.
As the first of the 2018 opera productions last Saturday, the Merola Opera Program chose Mozart’s rarely-performed early serenata, Il re pastore.
Sunny, lakeside Cooperstown presents a peppy, exuberant, winning production of West Side Story, the musical.
Caramoor imported the venerable West-Coast period orchestra Philharmonia Baroque to perform Atalanta, an obscure pastoral work by Handel.
Winsome, tony, and studded with overbooked bistros, Tanglewood is not exactly crawling with bohemians these days.
Well here we are, beloveds, still swathed in the warm glow of the Leonard Bernstein centennial. Box sets abound like bunnies in a hutch.
The dream cast put together for this second revival of Kasper Holten’s Don Giovanni production shines at the Royal Opera House.
As Brünnhilde invokes the gods of an empty Valhalla for one last time and strides confidently into a wall of flame, we pause for a moment, unsure of what will follow.
Siegfried is, in a sense, The Ring’s odd one out.
In less than 10 days two outstanding countertenors, Franco Fagioli and Jakub Józef Orlinski, visited London.
Casting the Ring as a parable for the state of the current world, seen through the eyes of a progressive urban opera lover (and not an early German nationalist), offers us soothing self-justification.
Composer/librettist David Hertzberg’s The Rose Elf, which gave its world premiere in the Green-Wood Cemetery Catacombs last weekend, is indeed a marvel of elfin proportions.
Warmth, humor, and joyful out-and-proud-ness dominate the mood, yet there is considerable darkness in Taylor Mac’s view of both past and present.
Many lessons surface in Tony Kushner’s epic Angels In America: A Gay Fantasia on National Themes.
New Amsterdam Opera’s concert version of Donizetti’s elaborate score La favorita, offered energy, panache and several top-notch young soloists.
Between staging, music, and material, it’s hard to decide what feels most broken about New York City Opera’s American premiere of Brokeback Mountain.
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.
