The Jesi foundation continues its tireless quest of making Pergolesi operas available on video.
This DVD
of a Diana Damrau recital (accompanied only by the harpist Xavier de Maistre) is sure to please her legions of fans.
Say what you will about Naxos, but this company has created a sizeable number of recordings of works on the periphery of the standard repertory and have managed to document quite a few interesting singers in the bargain-and at bargain prices.
Our Own JJ surveys the first week of the Met’s season (Eugene Onegin, Cosi fan tutte, The Nose, Norma) for the New York Observer.
It’s hard to come up with any sensible reason to dislike Joyce DiDonato.
While James Levine’s name might not immediately spring to mind when pondering the great Mozart conductors, he does have a long and distinguished career leading operas by the Austrian master.
Last night, the Met opened the 2013-14 season with a handsome, fairly conservative new production of Eugene Onegin by Deborah Warner that replaces the handsome, fairly conservative one by Robert Carsen. (The trend is clear.)
Marc-Antoine Charpentier’s opera David et Jonathas, written for a celebration at a Jesuit school in 1688, premiered together with a Latin verse drama, Saul, now lost.
Vanity project or not, these albums present a sensitive and talented artist showing off two little-seen sides of himself.
In the program for Opera Omnia’s production of Monteverdi’s Il ritorno di Ulisse, Crystal Manich, the company’s stage director, speaks of producing “baroque works in non-traditional ways.”
Marek Janowski’s second recorded Ring cycle began on an off note, with a Rheingold that was fleet and lucid but failed to impress in the important musical moments.
The 19th century could not cope with Così fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers) with a libretto by Lorenzo da Ponte and music by Mozart, first presented in Vienna in 1790.
Strange as it is to encounter two such disparate works presented with the identical production concept, it’s odder still that the opera you’d think would be the slam dunk is anything but.
There is a mighty appetite among both old Wagnerians and new ones to see a Ring that follows—if not too slavishly—the scenic requests of the libretto.
The 1965 season was a time of big changes at the Vienna State Opera.
Seventeenth century opera remains the true connoisseur’s delight partly because it’s so rarely done.
Anna Netrebko‘ s new CD of Verdi arias seems to be a bold, defiant, “in your face” statement about the direction she is taking with her career.
Thérèse is a compact work consisting of two short acts and clocks in just under seventy minutes.
the strip on my first and, so far at least, only visit to Las Vegas a few years ago, I noticed what to me was a most unexpected sight and startled my companions by pointing out the window and shouting “Auber!”
After the success of its Don Giovanni in 2011, Lincoln Center invited Iván Fischer and his Budapest Festival Orchestra to return for the Mostly Mozart Festival premiere (!) of the first of Mozart-da Ponte’s three masterpieces Le Nozze di Figaro late Sunday afternoon at the Rose Theater.
I was led through a small labyrinth of white curtains, sheer like veils, to a row of seven chairs jutting in between the stage risers.
Leslie Uyeda’s When the Sun Comes Out is being premiered by Vancouver’s Queer Arts Festival as “Canada’s first Lesbian opera” at the Roundhouse Community Center in Yaletown. I caught the second performance; there is one more tomorrow night.
I’ve long been a fan of Kenneth Branagh, even though this fandom feels a bit like being a camel in the desert.
After Heart of a Soldier, The Perfect American, The Gospel According to Mary Magdalene, et al., the premiere of Theodore Morrison’s Oscar in Santa Fe last Saturday came as a welcome relief.
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.
