The Broad Stage presented Joseph Calleja in their Celebrity Opera Series May 10 with a concert called A Tribute to Mario Lanza.
Zolotoy pyetushok (translated as The Golden Cockerel in English, is best known in these parts as Le Coq d’Or.
If everything you see is great, you are either new to opera or chronically easy to please.
The cultiest of cult musicals, an All-American take on the Iliad and the Odyssey, the spectacularly witty Golden Apple of John Latouche (words) and Jerome Moross (music), opened Off Broadway in 1953 to some acclaim.
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
Going into Washington National Opera’s final presentation of the season, Madama Butterfly, I feared that I might be geisha’d out.
W.C. Fields used to have a funny trope about in show business you should never work with children or animals. To that list should perhaps be added the soprano Anna Netrebko.
Antonio Literes, a boy soprano from Majorca, had, we may presume, friends in high places.
Were La Rondine an IQ test, I’d be in trouble.
By virtue of its subject matter and the auspicious occasion of its commissioning, Louis Riel was destined to be iconic.
“Roberto Alagna has found his most congenial and emotionally moving role yet: Cyrano de Bergerac.”
It is much to be regretted that song recitalists stick to the tried, the true, the excessively familiar when the repertory of song is so vast, so full of treasures ready for the light
Only the grand forces of Lyric Opera could bring such power and life to this production of My Fair Lady.
Opera Philadelphia ended its season with Le Nozze di Figaro, Friday, and it will play May 3, 5, and 7—a matinee. Figaro is considered by most to be one of the few perfect operas and although it’s perhaps too easily encountered in routine run-throughs, there are usually rewards in seeing it.
I don’t usually attend a performance of an opera I’ve known well most of my life expecting a revelation.
It was a timeout—but maybe it was a timeout we deserved.
In The Gypsy Baron (Der Zigeunerbaron), currently (through Sunday) enjoying a revival by the Manhattan School of Music Opera Theater, you get Strauss waltzes and patriotic marches.
Not a few eyebrows arched on social media when L.A. Opera appropriated the hashtag “Fight like a girl” on street level poster adverts all over town for the revival of their 2013 production of Giacomo Puccini’s Tosca.
The wild tempest that whipped and drenched the audience as it exited the Met after Tuesday’s season premiere of Wagner’s Der Fliegende Holländer mirrored the finer features of the evening.
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better?
Any production of Der Rosenkavalier that can transform the usually excruciating first half of the third act into a hilarious romp already has my vote.
Be wary of operas that are famous for just one aria or just one famous opinion.
I was puzzled by my initial exposure to the Medea of Aribert Reimann, a work of 2010.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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