Christine Goerke‘s distracted, tentative Isolde turned out to be the least potent feature of what was an otherwise exciting and effective second act of Tristan.
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Zauberland: An Encounter with Schumann’s Dichterliebe touched on themes of forced migration, loss, exile, and dehumanization.
Only the Sound Remains introduced Americans to the latest collaboration between dazzling Finnish composer Kaija Saariaho and hirsute metteur-en-scène Peter Sellars.
“The heavens are telling” begins the famous chorus that ends the first section of The Creation.
“Based on two Noh plays, the hypnotic work creates a shimmering world of supernatural encounters…”
“It’s not easy being green”: especially if you’re the two greatest Italian opera composers.
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.
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.
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