LoftOpera’s Saturday night performance of Rossini’s Otello successfully appealed to the essential kinetic energy of the operatic art form.
There is much to say about the similarities between the plot of Fidelio and the ancient myth of Orpheus.
Seven characters step forward and sing a rousing opening number, “The Party Goes On,” accompanied by images of job lines, Hoovervilles, and soup kitchens.
The rewards of Leonore lie almost as much in the ensembles as the solo contributions.
On Thursday evening, the Teatro alla Scala audience didn’t watch the familiar presentation of a “wayward woman” who overcomes moral inferiority only to be robbed of happiness when she finally deserved it.
Washington National Opera continued a focus on recent works this season with Terence Blanchard and Michael Cristofer’s 2013 opera Champion on the life of boxer Emile Griffith.
Curtis Opera Theater mounted a musically remarkable account of John Adams’ Doctor Atomic on March 2.
“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.”
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.
