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.
Amadigi di Gaula performed the Opera Settecento orchestra last Saturday night at St. George—Handel’s own parish church—fit perfectly into the venue.
I found Fellow Travelers intellectually and politically riveting, musically thrilling, and profoundly moving. It was a triumph.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
A regular day in 2018 Washington, D.C., or Verdi’s Don Carlo?
At Palermo’s Teatro Massimo, Zerline, the heroine of Auber’s once beloved Fra Diavolo , undresses down to frilly French skivvies.
Wedlock, betrayal, sibling rivalry, feminism, and union strikes give the opera Morning Star much of its driving thematic material.
Lucia di Lammermoor, a bloody story of a young woman’s mental degeneracy amidst feuding families, remains Donizetti’s most popular exploration of the landscape and culture of Britain.
Thursday evening Piramo e Tisbe demonstrated that its assembled forces were the little opera theatre of ny that could.
If opera as a genre in justified in its claim to one particular story, history confirms that the Orpheus myth would be that story.
As Despina in the Metropolitan Opera’s new production of Così fan tutte, Kelli O’Hara injects much needed vitality into an otherwise lethargic evening.
The production is at all times visually arresting, but it’s also extremely distracting.
Intolleranza was presented by Leon Botstein and his American Symphony Orchestra at Carnegie Hall on Thursday night, holding the audience rapt and intrigued for 65 minutes.
Christine Goerke‘s puzzling high register has become an increasingly troubling aspect of her singing. One just never knew what was going to come out from one moment to the next.
While she brought many exceptionally appealing qualities to her portrayal, Ermonela Jaho’s slender soprano often struggled to cope with Puccini’s demanding music.
Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.
As a diehard completist I felt guilty as the Met’s scattered, campy revival of Semiramide lumbered toward its abrupt conclusion after nearly four hours.
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
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.
