The second DVD/Blu-ray with Plácido Domingo as Verdi’s other beleaguered Doge, Francesco in I due Foscari.
Washington National Opera’s lukewarm Alcina, unthreateningly misguided in both its musical and theatrical values, made little impact.
Madama Butterfly remains fascinating because of its complexity.
The second installment of Lyric’s Ring Cycle proved an evening of glorious singing, moving drama, great conducting and orchestral playing.
Flashes of excitement and genuine pathos lit up City Opera’s production of Dolores Claiborne!
At yesterday’s recital at the Morgan Library, Leah Crocetto sang as her encore Kern and Hammerstein’s “Can’t Help Lovin’ Dat Man.”
Just because one can write an opera based on a film, does this necessarily indicate that one should?
In September, Finnish National Opera gave the world premiere of Höstsonaten (Autumn Sonata), based on Mr. Bergman’s 1978 study of a troubled mother/daughter relationship.
I fucking love Renée Fleming.
I was extraordinarily happy Monday evening to encounter Angel Blue and Russell Thomas as Mimi and Rodolfo.
“It’s not easy being green”: especially if you’re the two greatest Italian opera composers.
Riccardo Zandoni’s Il Grillo del Focolare is an opera after all.
For her first CD in six years, Angela Gheorghiu has chosen Italian repertoire.
Erin Wall was an elegant, warm, and sensitive Arabella.
How on Earth will these fictitious luminaries of turn-of-the-century Swedish society keep their clothes clean?
From the perspective of current identity politics, Puccini’s Turandot is a disaster of epic proportions.
Opera Vlaanderen opened its 2017-18 season with a rare staging of Korngold’s Das Wunder der Heliane.
New York fans of 17th century Italian vocal music should be rejoicing this month.
Georges Bizet’s Les pêcheurs de perles has been knocking steadily at the door of the standard repertoire now in this country for quite some time.
Verdi’s Rigoletto returned to Lyric Opera of Chicago, a rousing performance both musically and dramatically.
I suspect that David McVicar’s new production of the Metropolitan Opera’s Norma had its most congenial showing as a totality, specifically in the HD format at the movie theater.
Matthew Aucoin’s Crossing depicts Walt Whitman’s experience serving wounded soldiers in a DC infirmary and chronicles the period’s tragic effects.
At the center of the Met’s revival of Puccini’s La bohème, one found the rich and layered talent of Angel Blue.
There is a slight chill in the air during the final minutes of La Traviata.
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.
