I’ve only heard one performance that could be described as ‘filth.’
Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
Wolf Trap Opera presented a lovely Eugene Onegin with particularly noteworthy performances by Magdalena Kuźma and Daniel O’Hearn.
Video Artists International brings us back to a time when opera was carried over the airwaves by great voices—and a tire company.
From one Mister Snow to another, I salute him.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Erin Morley, Lawrence Brownlee, and Malcolm Martineau put on a jolly good show at the 92nd Street Y.
A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
San Diego Opera presents a strongly directed and cast revival of Il barbiere di Siviglia.
Caitlin Vincent‘s new book Opera Wars paints a persuasive picture of the problems facing opera today, though her solutions leave something to be desired.
“When there’s so much to get right, unsurprisingly a lot can and, as we all know, does go wrong.”
Théâtre de l’Athénée Louis-Jouvet mounts a raucous production of Hervé’s Le petit Faust.
Gulfshore Opera’s vigorous production of Carmen answers a familiar question.
Offenbach‘s Robinson Crusoé is salvaged from obscurity.
James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
Only the singers, led by Benjamin Bernheim, can salvage a dismal La Damnation de Faust at the Théâtre des Champs Elysées.
J’Nai Bridges makes a sophisticated companion to the Morgan Library & Museum’s Renoir Drawings exhibit.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
Anthony Hüseyin‘s eclectic recital in Berlin explores femicide in opera through a queer, nonbinary lens.
Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
Conchita Supervia (1895-1936), Spanish mezzo, never fails to lift my spirits, in practically everything she sang.
Wolf Trap Opera concluded its 2025 summer season last month with a production of Carmen that was vocally strong, though not entirely dramatically satisfying, amid challenging weather.
Christof Loy‘s Louise in Aix-en-Provence scratches at the urban– and operatic– unconscious
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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