And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith… I am nothing.”
Teatro Grattacielo is New York’s homegrown organization to rescue Verismo operas from oblivion, one per annum, allowing for the occasional double bill.
Purchase of Manhattan was given its world premiere on Thursday evening at the Marble Collegiate Church on Fifth Avenue.
Every year I say I’m not going to another La Bohème because I’ve seen this too many times.
Paris can be a lot to handle, but this week it was a lot to Handel.
Imagine the good fortune of attending La Bohème with someone who’s never seen it!
Show Boat continues to communicate, even in the less than perfect circumstances of this latest revival.
The role debut of a world-class singer is always a time of great anticipation, hopefully to be followed by celebration, if not unbridled jubilation.
“There it is! The Castel Sant’ Angelo!”
Throw in a trio of murders and a healthy splash of vodka and you have, more or less, the plot of Shostakovich’s Lady Macbeth of Mtsensk.
Kitsch is alive and well in Rossini’s La Cenerentola at the War Memorial.
Cecilia Bartoli, the revered, ebullient, and unique mezzo-soprano, does not like to fly in airplanes. Yet she managed to journey to St. Petersburg, Russia.
If you are of the belief that Show Boat can stand on its own as a classic score and thus doesn’t need the trappings of musical production, you’ll love the New York Philharmonic’s “semi-staged” production.
This was the kind of night that proves the haters right: sometimes opera is boring.
At the first intermission at last night’s Met revival of Aida, I turned to my companion and said, “So… what about the Aida? I thought she was supposed to be good.”
The San Francisco Opera is batting a thousand where young singers are concerned this season.
It was a night a-tingle with excitement at the Metropolitan Opera House.
There was wonder and magic last night in Philly when The Philadelphia Chamber Music Society presented British tenor Mark Padmore and American pianist Jonathan Biss in a recital devoted to the songs of Schumann, Tippett, and Fauré.
Gotham Chamber Opera, which began to operate twelve years ago with a double bill of Bohuslav Martinu’s quirky little pieces, opened its 2014-15 season with two more, Alexandre bis (Alexander, twice) and Comedy on the Bridge.
America hasn’t exactly been vigorous about commemorating the 250th anniversary of the death of Jean-Philippe Rameau.
Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.
The rediscovery of Franco Faccio’s Amleto, a curious score that last week, via Baltimore Concert Opera, received its first performances since 1871, reminds us just how tough an act Giuseppe Verdi was to follow.
When Richard Wagner reached into the past and revised Gluck’s Iphigénie en Aulide, he went beyond the accepted boundaries of tinkering and more or less created a new work that’s fomented aesthetic debates ever since.
The big news out of the Bay this week, of course, is that David Gockley, after ten years at the helm here and over forty in opera, has decided not to pull a Bloomberg/Galupe-Borszkh.
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.
