By the time the curtain rose on Verdi’s Luisa Miller last Sunday in Washington Concert Opera’s final show of the season, the originally announced line-up was about as accurate as a federal agency org chart from February.
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.
It began with charming modesty.
Don Carlos returns to the Opéra National de Paris and it’s an unusually happy occasion
Missy Mazzoli has established herself as one of contemporary opera’s most skilled and subtle architects of emotional response, and her latest, The Listeners—now at the Lyric Opera of Chicago—is no exception.
The nail-biting adventures of Voltaire’s titular hero Candide are hardly more circuitous than those faced by Leonard Bernstein’s 1956 Broadway musical adaptation.
BAM is back!
Boop! The Musical arrives on Broadway with plenty of colorful glitz, glamour, and talent with an empowering message for women to find their inner confidence to succeed and lead
A muted and merry carousel ride out of feudalism in the Met’s production of Le nozze di Figaro
A parade of young singers delight in an intimate Madama Butterfly at Amore Opera
Before this weekend, I never thought I would want to leave an opera by Act I. The recent production of Puccini’s La bohème at the Lyric Opera of Chicago taught me that there’s a first time for everything.
IN Series concluded its exploration of the works of Claudio Monteverdi with a production of the composer’s final opera, L’incoronazione di Poppea, performed with the addition of Indian music and dance.
Pascal Dusapin‘s dynamic and demanding traversal of Dante‘s Commedia arrives at the Paris Opera
Audacious star performances elevate safe direction in Richard II and The Seagull on London’s West End
Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
Back to Rameau again this week with Samson at the Opéra Comique, my third Rameau production in as little as three months, after Les Fêtes d’Hébé in the same house, and Castor et Pollux at the Palais Garnier.
A grand concert from Angel Blue has Patrick Mack wondering, “where’s her crossover album?”
William Kentridge‘s eclectic The Great Yes, The Great No arrives at Cal Performances.
Huw Montague Rendall’s new release Contemplation has been spinning in both my car and home players repeatedly for months now.
This performance of Mahler’s Symphony N°8 at the Bozar in Brussels will probably be my last ever Mahler concert.
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
Karen Slack is downright magisterial in her recital African Queens.
A stylish and funny Così fan tutte at LA Opera is a pretty glam affair, according to Patrick Mack.
The new musical starring Idina Menzel, ostensibly a paean to back-to-naturism, could hardly feel more manufactured and synthetic.
In Opera Parallèle’s The Pigeon Keeper, Michael Anthonio finds a timely message of kindness during hard times.
