Barrie Kosky’s zany production of The Nose time-steps back onto the Komische Oper Berlin stage.
Austin Opera’s moving production of Fiddler on the Roof grounds itself in lived tradition, to great effect.
I so don’t get why any company in the Anglophone world ever bothers to perform Continental operetta in English.
parterre box serves up an amuse-bouche of Natalie Dessay as Mrs. Lovett in Sweeney Todd in Strasbourg!
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.
Opera house versions of Sondheim’s Sweeney Todd featuring Bryn Terfel / Judith Christin and Thomas Allen / Felicity Palmer.
Sweeney Todd is by any measure a triumphant show, the kind that makes an audience understand why Broadway is American theater’s gold standard
It’s maybe not a surprise that Carmen is neither a good vocal nor temperamental fit for Isabel Leonard.
When I think of Stephen Sondheim, so many of my memories are not simply about shows of his I loved and learned from—they are experiences that literally shaped my life.
Stephen Sondheim turns 90 on Sunday, prompting Trove Thursday to present his most “operatic” work, Sweeney Todd, in a rare 2002 performance with Christine Baranski and Brian Stokes Mitchell as the murderous duo.
When soprano Yihan Duan started to sing her aria, you could feel an almost electric charge that something special was happening.
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
Curtis Opera ventured Sweeney Todd.
Philadelphia’s Academy of Vocal Arts, a top-tier advanced training program for singers launching professional careers, always sends off their artists in style.
Forty-five years ago today, Stephen Sondheim’s brilliant, frustrating Follies played its first Broadway preview at the Winter Garden Theatre.
Kurt Weill and Maxwell Anderson’s 1949 musicalization of Alan Paton’s Cry, the Beloved Country has found a tentative home on the opera stage.
Die Meistersinger is a bold stroke of programming, in a not particularly exciting way.
If I’d gotten an hour less sleep you’d now find me mixing everything up and writing about Mrs. Lovett making her entrance on a bronze horse like Peter the Great.
You have only until Sunday to catch the most heart-breaking moments seen on New York City operatic stages this season.
Packaged with a peek-a-boo cover exposing only Bryn Terfel’s lovely left eye (the effect of turning the page to reveal the Welsh bass-baritone’s head in its entirety brings to mind this Encyclopedia Dramatica entry) and an oddly hip-hop-flavored gray-on-black treatment of the album’s title, Terfel’s Bad Boys seems designed for those who like their divos…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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