Iain Bell and Lydia Steier‘s Medusa stuns in Brussels.
Led by a mesmerizing Anthony Roth Costanzo, Satyagraha at the Paris Opera dispenses with historical particularities for something for more elusive.
With Siegfried, the directorial vision of the Paris Opera‘s Ring cycle finally takes root.
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.
Asmik Grigorian’s scorching turn in Il trittico in Paris has Nigel Wilkinson wondering, ‘what is it that makes Americans so weepy?’
Nigel Wilkinson takes on the first installment of the Paris Opera’s new Calixto Bieito-directed Ring Cycle
Back to Brussels last Sunday for my third new opera of the season (after The Time of our Singing, also at La Monnaie, and Picture a day like this, at the Opéra Comique): Mikael Karlsson’s Fanny and Alexander, with a libretto by Royce Vavrek.
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
Though barely a week old, 2019 has already provided New Yorkers with an essential, breathtaking music drama focusing on two women struggling for their very survival.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
One of the greats of classical music, Franz Joseph Haydn was a bit of an “also-ran” as an opera composer.
Christophe Dumaux quickly slipped in and out of town this weekend to sing Handel and Vivaldi in a marvelous gala concert with the Sejong Soloists at Zankel Hall.
Just because one can write an opera based on a film, does this necessarily indicate that one should?
In September, Finnish National Opera gave the world premiere of Höstsonaten (Autumn Sonata), based on Mr. Bergman’s 1978 study of a troubled mother/daughter relationship.
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.
The 55th New York Film Festival presented the world premiere of Susan Froemke’s marvelous new documentary The Opera House in a special one-time-only screening at the Metropolitan Opera.
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
Your alte Jungfer’s requisite Kuschelkatze (pictured) arrived on my doorstep in Mariahilf with the name of Tristan.
Short answer: yes. But let’s begin by dismissing the a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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