Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
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.
Barrie Kosky’s zany production of The Nose time-steps back onto the Komische Oper Berlin stage.
Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
An excellent Věc Makropulos at Opéra de Lille makes the case for the vitality and necessity of France’s regional companies.
A stark, sweltering performance of Lady Macbeth of Mtsensk shocks the Komische Oper Berlin.
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
Real estate is hot along the Acela corridor right now: as proof, Judith will have toured at least three castles in New York and Boston between this spring and last.
Boston Symphony Orchestra recently confirmed an infinitely renewable contract upon Andris Nelsons, its music director since 2014. To understand why, one needed little more evidence than the outfit’s recent visit to Carnegie Hall.
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.
It says something about Boston’s opera scene that one of the most consistently ambitious events of the opera season is a one-off performance played by the Boston Youth Symphony Orchestras.
On this day in 1952, the Metropolitan Opera opened its season with a new production of La forza del destino.
It’s nasty world, Shostakovich seems to say, where life alternates between boring and terrifying.
Trove Thursday offers Shostakovich’s 1962 Katerina Izmailova with Australian soprano Marie Collier as its anti-heroine and Jon Vickers as her lover.
Today is Mozart’s 266th birthday and I had already planned a Trove Thursday celebration when I learned that Maria Ewing had died on January 9.
Tonight at the Met should have welcomed Barrie Kosky’s production of Prokofiev’s The Fiery Angel; in its absence Trove Thursday steps in with a recent broadcast featuring this summer’s breakout star Ausrine Stundyte as the enigmatic Renata.
The tendency to rank—to create subjective lists of best or greatest, or to organize things in ascending or descending order—is a human compulsion.
Two months after my last visit to this season’s sixteen-performance run of Puccini’s Turandot, I returned eager to witness the latest chapter in the sporadic Met career of Nina Stemme. Rising stars Anita Hartig and Alexander Tsymbalyuk also appeared in their roles for the first time at the Met, so Monday evening turned into a…
It would be generous to say that history comes alive on the operatic stage.
I can’t think of another 20th century opera which has grown so fast in popularity so long after its composition than Lady Macbeth of Mtsensk.
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
2014 was a year of lemons into lemonade.
A Birnam Wood of Macbeths and Ladys has come traipsing through New York this year.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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