Kaija Saariaho’s spectral, shattering Innocence makes its Metropolitan Opera debut.
A Strauss rarity receives a ravishing concert performance at Seattle Opera.
The 25th anniversary revival of Dead Man Walking at San Francisco Opera is most moving in its quietest moments
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
Fidelio, which opened last week at the Metropolitan Opera, will always be relevant, I fear.
“[W]omen are interesting and important in real life. They are not an afterthought of nature, they are not secondary players in human destiny, and every society has always known that.” — Margaret Atwood, February 2017
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
On June 16, San Francisco Opera concluded their excellent Centennial Season with a heartfelt 100th Anniversary Concert, featuring a starry cast, three conductors (including current and former Music Directors) and the SF Opera Orchestra and Chorus.
Antony and Cleopatra was an auspicious start to San Francisco Opera’s second century, a performance that seems to improve as I continue to think about it.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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