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.
Conductor Eun Sun Kim and soprano Elza van der Heever play to their strengths in a piercing revival of Elektra at San Francisco Opera.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Iain Bell and Lydia Steier‘s Medusa stuns in Brussels.
La Monnaie’s flamboyantly busy new production of Benvenuto Cellini reads more burlesque than Berlioz.
Grand Tier Grab Bag highlights La Scala’s opening night prima donna Sara Jakubiak with an excerpt of her Chrysothemis recorded last year.
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
A brilliant L’italiana in Algeri in Rome has Larry Wolff once again thinking about “singing Turks”
A muted production challenges a talented cast in San Francisco Opera’s Idomeneo
Eli Jacobson on a luscious evening of early Strauss with Guntram at Carnegie Hall
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
We are a nostalgic sort, we opera lovers. Fortunately, Korngold’s Die tote Stadt, which arrived in concert form to Boston’s Symphony Hall last weekend, is all about nostalgia.
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.
As a burgeoning opera fan, I relied on YouTube to connect me with the art form.
My sole live encounter with Seiji Ozawa coincided with his final appearances at the Metropolitan Opera, where he conducted its 2008 revival of Tchaikovsky’s Pikovaya Dama.
The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
Chris’s Cache offers up a quintet of intriguing “forgotten” Leonora-Azucena pairings from the 1970s.
Nina Stemme’s program guided her audience through a period of musical history that explores themes of love and mortality with texts that traverse emotional extremes.
Welcome, beloveds, to the Jessye Norman Memorial Museum. I’ll be the docent for your tour today.
Richard Strauss’ “Bucolic Tragedy in One Act” Daphne is one of his most beautiful and most frustrating works.
On this day in 1992 the Metropolitan Opera presented a [disastrous] new production of Elektra.
I can’t imagine anything more anxiety-inducing than being put in at last-minute to sing a role in a high-profile production at the Met.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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