Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
At Wolf Trap Opera, a season-closing Tosca is weighed down by an incoherent setting during Italy’s Anni di piombo.
Whether an opera by Puccini, Verdi, Wagner, Strauss, or Berg, Dimitri Mitropoulos brought to the podium a total understanding and love for each score he touched.
A Pasolini-inspired Tosca at La Monnaie does not quite find the pleasure in the pain.
After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
To celebrate the 100th anniversary performances of Turandot at the Met starting next week, Patrick Dillon gives a listen to seven versions of “Signore, ascolta!” for Perspectives on an Aria.
When I was a fledgling opera enthusiast, professors at a small-town Wisconsin college routinely travelled to Chicago for Lyric Opera performances.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
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.
SoCal goes Scandi in two recent concerts, with one featuring an appearance by Lise Davidsen.
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
With Gustavo Dudamel in the spotlight at Parterre Box this week, Grand Tier Grab Bag foreshadows one of the New York Philharmonic’s upcoming operatic engagements.
Ahead of his first season as the Music & Artistic Director of the New York Philharmonic, how much longer can — and should — Gustavo Dudamel stay quiet about the situation in his native Venezuela?
Confused dramaturgy dampens an otherwise sparkling night of singing in Opera Baltimore’s Lucrezia Borgia.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
Following the announcement that she’ll make her Met debut next season, Grand Tier Grab Bag brings Italian soprano Erika Grimaldi to your attention with a duet from Manon Lescaut.
Caitlin Vincent‘s new book Opera Wars paints a persuasive picture of the problems facing opera today, though her solutions leave something to be desired.
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.
The oddball pairing of Bernie Williams and Jonathan Tetelman doesn’t quite knock it out of the park at Carnegie Hall.
Looking back, this Stiffelio in Piacenza is the one I cherish the most.
Austin Opera’s 40th anniversary gala celebrated the present while gesturing boldly towards the future.
James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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