Malin Byström is a radiant water nymph in the Bayerische Staatsoper‘s house-of-horrors-set Rusalka.
The bonkers, bewildering Die ägyptische Helena begets a suitably lush musical and creative treatment at Bard SummerScape.
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Don’t expect any sweeping statements from Franz Welser-Möst ‘s polished, if dramatically inert, Fidelio.
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
A classic German fairytale gets a modern update at the Staatsoper Berlin.
Tobias Kratzer digs beneath the surface of Strauss‘s Intermezzo in an excellent new DVD from Deutsche Oper Berlin.
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
The St. Louis Symphony Orchestra offered a rending reading of Britten‘s massive War Requiem with an eclectic trio of soloists.
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.
A double bill of rare Bizet works in Paris is not something any of us needs to do more than once
Ahead of tomorrow’s Live in HD, Michael Steinberg talks Leonore, Salome, and the “endemic misogyny” of Claus Guth‘s new production
Elza van den Heever and Peter Mattei (and the stage elevator) elevate an assertive, if not definitive, new Salome at the Met
Madison Schindele on loving Die Frau ohne Schatten as a “woman of childbearing age”
A live broadcast of a new production from the Deutsche Oper Berlin.
A recent conversation with a friend who has loved Die Frau ohne Schatten for twice as long as I have been alive revealed that we both had some unresolved questions about the plot.
Later this month the Met at last revives its striking Herbert Wernicke production of Die Frau ohne Schatten, prompting a Chris’s Cache preview of three live recordings of Strauss and Hofmannsthal’s fanciful if knotty masterpiece.
My vision may have been slightly blurry at the end.
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
On this day in 1977 Alban Berg‘s Lulu premiered at the Metropolitan Opera in the as-yet incomplete 2 act version.
parterre box turns 30 on Sunday and writers from around the box are reflecting on the legacy of founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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