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.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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