Simply put, Christine Goerke is a stupendous Elektra.
After nearly three years and over 20 performances Michael Mayer’s “Las Vegas” production of Rigoletto at the Metropolitan Opera still outrages many.
New York is different now, and John Zorn has this hangout, The Stone, on Avenue C (you heard me) at Second Street, a performance space the size of a largeish dorm room.
What is surreal, symbolic, and generally mysterious in the dramatic arts can get a bad rap.
This “new-to-Chicago” production is a sheer pleasure from beginning to end.
“Operatic” generally refers to sung drama, but there is another meaning of that term: grandiose, outsize, hysterical.
Although the season is less than three weeks old, Metropolitan Opera audiences may hear nothing else this season as beautiful as Peter Mattei’s “Song to the Evening Star.”
Besides the heavens and a sweater in The Devil Wears Prada, it is the hue of Hibla Gerzmava’s soprano, in contrast to the red or rose or red-orange voices of most sopranos.
Which operatic character could be best described as a spider?
If you had told me 20 years ago that at some point in the future I would have over 550 of the Metropolitan Opera’s performances, audio and video, at my command with the touch of a button I would say my eulogy had just been read and I’d been taken to my reward.
For all their orchestral and vocal attractions, Nikolai Rimsky-Korsakov’s 15 operas are rarities in the West.
“This throwback to the golden age of opera—superhuman singing greeted with frenzied ovations—was a function of a perfect storm of excitement.”
LA Opera opened their 30th season with a pairing of two of their most popular productions, both of which were initially staged by filmmakers not unfamiliar with the vagaries of our industry outpost here in Hollywoodland.
The Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.
LoftOpera is just one, though perhaps the liveliest, of many homegrown opera troupes in Brooklyn.
A clearly moved Hvorostovsky basked in the moment and momentarily broke character to acknowledge the love.
Would exciting American dramatic soprano Christine Goerke be the next great ice-princess we have been waiting for?
There is a simple elegance to the single-composer recital album format. For the listener in the mood for, say, Puccini, it’s a chance to delve into his music without any pesky interruptions by those other guys like Verdi or Massenet. And if one is also in the mood for a particular singer’s art, then the…
“Hailed ‘the Meryl Streep of opera’…” begins one sentence of a promotional piece for a Diana Damrau recording of another opera, reproduced on the soprano’s website.
If I’d gotten an hour less sleep you’d now find me mixing everything up and writing about Mrs. Lovett making her entrance on a bronze horse like Peter the Great.
Enthusiasts of Janácek’s opera will want to pick up this video immediately.
One of the glorious perks of my job, which is selling luxury cruises, is that on a semi-occasional basis I get to sample the wares myself—purely from an educational standpoint, mind you.
The studio opera recording is a rare beast these days and its arrival always a cause for celebration.
The winter 2014 final run of the Met’s first/only Rusalka production (a new one is scheduled in a few seasons) seemed both a nod to the theater’s past and a hint of its future.
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.
