An excellent Věc Makropulos at Opéra de Lille makes the case for the vitality and necessity of France’s regional companies.
Das Wunder der Heliane fuses sex with the sacred at a simmering performance at the Opéra National du Rhin.
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
Remember that time you went to the opera and the whole evening was like magic? Saturday night at the Dorothy Chandler Pavilion probably ranks among my greatest nights in the theater and I’m finding the superlatives in my thesaurus inadequate to the task.
Tonight at the Met should have welcomed Barrie Kosky’s production of Prokofiev’s The Fiery Angel; in its absence Trove Thursday steps in with a recent broadcast featuring this summer’s breakout star Ausrine Stundyte as the enigmatic Renata.
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
Bard SummerScape’s concert staging of Die Tote Stadt emerged triumphant thanks to Clay Hilley and Sara Jakubiak.
The aphorisms projected before each act of Das Wunder der Heliane suggested the work concerns the transformative power of love—but does it really?
Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
I fucking love Renée Fleming.
Opera Vlaanderen opened its 2017-18 season with a rare staging of Korngold’s Das Wunder der Heliane.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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