Boston Lyric Opera’s Revolutionary War-set Daughter of the Regiment prioritizes accessibility without losing its charm.
Bluebeard’s Castle and Erwartung at Canadian Opera Company deliver on fine performances even if Robert Lepage‘s production skimps on horror.
A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
I’m convinced that someone else will claim this Donizetti opera before I do, but Maria Stuarda is definitely my very favorite Donizetti opera.
Judith Malafronte sits down with bass David Leigh who debuts as Rocco in Washington National Opera’s production of Fidelio next week
Chris’s Cache features a pair of performances of Iolanta with Tamara Milashkina and Asmik Grigorian
Gilbert and Sullivan’s Iolanthe, presented at Carnegie Hall this past Wednesday by MasterVoices, is a charming rom-com that pits the feminine world of nature against masculine government with unabashedly silly and utterly delightful results.
In the last weeks of January, as the Metropolitan Opera season wound to a close (prior to the winter hiatus) two striking sopranos were thrust into the limelight.
April is the cruelest month, the song tells us—but this year, it was a week later. Ghenady Meirson, Philadelphia’s master of Russian Opera and coach extraordinaire, died on May 8.
Later this month Asmik Grigorian will star in Covent Garden’s new Jenufa, which Trove Thursday anticipates presenting the acclaimed Lithuanian soprano in a broadcast from 2014 of Tchaikovsky’s rare opera The Enchantress (Charodeyka).
“Trove Thursday” escapes to an exotic place with Rimsky-Korsakov’s Sadko.
Under any circumstances, the Russian Opera Workshop’s radiant concert performance of Tchaikovsky’s Iolanta would have been an event to celebrate.
Amore Opera, an old-fashioned, adventurous little company that performs ambitious and sometimes delectably obscure but worthy repertory at the Riverside Theatre, is now (through Sunday) presenting Un ballo in maschera.
Hearing Lucas Meachem perform Kindertotenlieder in the crypt of Harlem’s Church of the Intercession was a heart-warming, and ultimately uplifting experience.
Although Gustav Mahler never wrote an opera, his colossal Eighth Symphony “The Symphony of a Thousand” may give us some glimpses of what a Mahler opera might have sounded like
Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle both use themes of vision and revelation to ask compelling questions about knowledge, responsibility, and gender.
Iolanta was crowned on Thursday evening by Sonya Yoncheva’s haunting portrayal of the blind title character.
If I had to live with just one Tchaikovsky opera, it would be Iolanta.
At tonight’s performance of Aida at the Met, the Triumphal Scene horses suddenly panicked and tried to bolt from the stage. I can’t say I blame them.
Russian repertoire figures very centrally in AVA’s mission.
Tchaikovsky’s Orleánskaia Djeva (The Maid of Orleans) kicked off Odyssey’s Opera’s fifth season
>What does a great opera production do, and what does a bad production fail to do?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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