Bayreuth’s AI-powered “Ring 100010110” marred a first-rate cast and orchestra with nightmarish visuals and horrid dramaturgy.
The Bayerische Staatsoper’s Ring cycle scores another triumph with Tobias Kratzer’s take on Die Walküre.
Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await 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.
Bass-baritone Le Bu’s recital with Vocal Arts DC highlighted his linguistic and timbral versatility.
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
Led by a mesmerizing Anthony Roth Costanzo, Satyagraha at the Paris Opera dispenses with historical particularities for something for more elusive.
In Modena, Teodor Currentzis‘s Ring ohne Worte foregoes words but not gimmickry.
It was many decades ago that I first listened to the Solti Ring Cycle.
La Monnaie’s flamboyantly busy new production of Benvenuto Cellini reads more burlesque than Berlioz.
With Siegfried, the directorial vision of the Paris Opera‘s Ring cycle finally takes root.
Tobias Kratzer‘s production of Das Rheingold at the Bayerische Staatsoper was a resounding success.
Looking back, this Stiffelio in Piacenza is the one I cherish the most.
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
Vincent Lombardo pays poetic tribute to the 60-year-long career of Robert Wilson.
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
Tobias Kratzer‘s Das Rheingold in Munich kicks off a Ring for the post-secular age
A live broadcast of the first installment of this summer’s Ring from Bayreuth
Asmik Grigorian’s scorching turn in Il trittico in Paris has Nigel Wilkinson wondering, ‘what is it that makes Americans so weepy?’
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.
This performance of Mahler’s Symphony N°8 at the Bozar in Brussels will probably be my last ever Mahler concert.
As I mentioned in my last article (on the subject of Calixto Bieito’s production of Das Rheingold at the Paris Opera), in what the French might call une histoire belge, La Monnaie’s Ring cycle started with Romeo Castellucci as its director, and is now ending with Pierre Audi.
Nigel Wilkinson takes on the first installment of the Paris Opera’s new Calixto Bieito-directed Ring Cycle
Aside from a tour with the LSO this spring, this was, I believe, the only time Antonio Pappano would be conducting in the US this season. This made the concert at Symphony Hall a real treat.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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