“In my music, there’s not repetition. Something is always going on.”
Silent Night is in a sense a giant middle finger raised against the conventional wisdom that musical sophistication requires inscrutability.
The opera is relentlessly obvious, a work that repeatedly turns to tired tropes and canned characters to fill up its nearly three hour run time.
The Canadian Opera Company scored a coup when they secured Christine Goerke for the revival of their Ring productions over the last three seasons
Opera composers do not often change their spots.
Ted Hearne’s opera/oratorio The Source brings compositional process and combination of acoustic and electronic elements to the weighty topics of national security leaks, big data, and war.
So, how excited are you to read another piece about the Mary Zimmerman Rusalka?
The Met’s current production of Verdi’s La Traviata is something of a mixed bag.
I entered the Dorothy Chandler Pavilion on Saturday night for LA Opera’s 30 year old revival of their production of Salome with a combination of enthusiasm and apprehension.
The subject of timidity has been in my thoughts in these waning days of February 2017. One would almost think there had been some big announcement recently, preceded by a series of smaller ones, to turn a U.S.-based opera fan’s thoughts in this direction.
Sandrine Piau‘s lovely recital with pianist Susan Manoff at The Philadelphia Chamber Music Society on February 14 entered around the themes of sleep, dreams and waking.
I am, perhaps instinctively, skeptical of those who commit suicide.
Radvanovsky delivered a vocal and histrionic performance that should be the gold standard Norma for years.
This Met’s second production of Berg’s 1935 opera was the hot topic of November 2015.
Let’s call this meeting to order. My name is Patrick and I’m a boxset-aholic.
Tancredi, given on February 10th, was a credit to Opera Philadelphia, who offered a well-considered and compelling production.
Someone—a deranged purist no doubt—heckled Javier Camarena from the balcony of the opera house for withholding the infamous high F during “Credeasi, misera.”
An unstaged performance of Juditha Triumphans by five soloists and the Venice Baroque Orchestra under Andrea Marcon.
I never made it through more than a few chapters of any Tolstoy work. And I never made it through Chapter One, Volume One of War and Peace. Yeah, I know. I suck. Turns out I was just not using the left side of my brain, because War and Peace can actually be a fun, entertaining,…
Revive is a manifesto of sorts, declaring Elina Garanca’s intentions for the new direction in her career.
With a cast of stellar singers and uneven direction by Mary Zimmerman, Dvorák’s Rusalka debuts in a new production at the Metropolitan Opera.
Friday night Music Director James Conlon sold Die Entfürhung aus dem Serial to a tony crowd of Angelenos.
Today’s Rusalka video overview covers filmed performances of Dvorák’s opera since 2010.
The beautiful singing here is less in the sound than in the way the voice moves.
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.
