Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
Les Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
While it may not be top-tier Rossini, Teatro Nuovo’s mounting of Il turco in Italia is still good summer fun.
Teatro Nuovo pays tribute to a historic New York production of Don Giovanni with a talented ensemble.
Whether an opera by Puccini, Verdi, Wagner, Strauss, or Berg, Dimitri Mitropoulos brought to the podium a total understanding and love for each score he touched.
John Danaher pays an operatic tribute to the writings of James McCourt, an author who captured the spirit of opera as queer and dangerous like no other.
The one who got away was Anna Caterina Antonacci, a thrilling performer.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
Brigitte Fassbaender’s acid-laced production of La finta giardiniera leans into the absurdities of Mozart’s early dramma giocoso.
Washington National Opera offered a searing production of Robert Ward’s opera The Crucible, directed by WNO Artistic Director Francesca Zambello, as the second installment in the company’s next chapter.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Despite some fine performances, Così fan tutte at the Livermore Valley Opera doesn’t quite click into place.
Will Liverman and Kiera Duffy brought an eclectic program to their jovial post-blizzard recital at Rhode Island College.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
The St. Louis Symphony Orchestra under conductor Stéphane Denève plays up the schtick in a concert performance of The Magic Flute – and obscures Mozart’s magic in the process.
In an all-Mozart program with the San Francisco Symphony, Golda Schultz shows that her soubrette days are behind her.
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
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
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.
Other queens have been richer of voice or more dramatically compelling, but none I have ever heard succeeds in sounding something other than human.
Adela Zaharia and Amartuvshin Enkhbat shine brightly in San Francisco Opera’s opening night Rigoletto.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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