Opera Theatre of Saint Louis does its best to give magic in its summer productions of Roméo et Juliette and A Streetcar Named Desired.
Video Artists International brings us back to a time when opera was carried over the airwaves by great voices—and a tire company.
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.
Diana Soviero chats with Roger Pines about six decades of performing, four decades of teaching, and how she’s handing the tradition off to the next generation.
Easily the Met’s new Sonnambula, where cast and production team delivered a gorgeously sung and well thought out concept for a libretto often derided for its simplicity.
Mady Mesplé’s voice has, sadly, become an acquired taste.
A plodding La bohème in San Francisco never quite takes off
Matthew Travisano takes on Mimì’s Act III aria from La bohème — not that one, the other one — in the latest installment of the “Perspectives on an Aria” series
Pascal Dusapin‘s dynamic and demanding traversal of Dante‘s Commedia arrives at the Paris Opera
Huw Montague Rendall’s new release Contemplation has been spinning in both my car and home players repeatedly for months now.
It surprises even me how some operas have eluded me in live performance even after lo, these many years. One of them is Gounod’s Roméo et Juliette.
Needing a Mozart palate-cleanser after the recent misbegotten Marriage of Figaro, I went back more than two decades for a Houston Così fan Tutte featuring then-rising Americans Christine Goerke, Joyce Di Donato, Richard Croft, and Nathan Gunn as the confused lovers.
Too young to be in love. But not too young to go to war or to die.
Chris’s Cache follows up its Gounod R&J installment with a widely varied quintet of additional Romeos and Juliets
Washington National Opera’s final production of the season, seen May 22, is also its high point: a new Turandot directed by Francesca Zambello, updated to the 20th century and featuring the world premiere of a completion of Puccini’s score by composer Christopher Tin and playwright and screenwriter Susan Soon He Stanton.
Opera at the Kennedy Center has been in hibernation this winter.
It’s not hard not to feel jaded about Romeo and Juliet.
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.
As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
For Philadelphia opera lovers, October means the Giargiari Bel Canto Competition—a staple event for the Academy of Vocal Arts, and a pipeline for the public to discover some of their strongest resident artists.
On this day in 1900 the Metropolitan Opera opened its season with a revival of Roméo et Juliette.
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
On this day in 1973 the Metropolitan Opera presented the company premiere of Les Troyens.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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