A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
Golda Schultz casts darkness in an alluring light in an intimate recital at the New Orleans Opera Festival.
Washington National Opera offered a searing production of Robert Ward’s opera The Crucible, directed by WNO Artistic Director Francesca Zambello, as the second installment in the company’s next chapter.
The oddball pairing of Bernie Williams and Jonathan Tetelman doesn’t quite knock it out of the park at Carnegie Hall.
In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
West Side Story opened LA Opera’s 40th anniversary season with fury and flair
The Met Orchestra under Yannick Nézet-Séguin surges into summer with a mixed program at Carnegie Hall
Francesco Filidei’s new opera The Name of the Rose struggles to bridge the past and the present in Milan
The New York Gilbert and Sullivan Players are celebrating their 50th Anniversary Season presenting Ruddigore (last month), The Pirates of Penzance (first two weekends in January), and Iolanthe (on its way in April).
Eastern Long Island remains surprisingly verdant even into the early fall.
Chris’s Cache follows up its Gounod R&J installment with a widely varied quintet of additional Romeos and Juliets
Since I began regularly attending performances at Lyric Opera of Chicago in 1999, I have been a great admirer of director Francesca Zambello’s productions.
June is long gone. It was truly a month of excellence and exuberance here in San Francisco, coupled with cozy and inviting weather, as if to make up for the extended winter.
Lyric Opera of Chicago has brought back its wildly successful 2019 production of West Side Story, directed by Francesca Zambello. I thought it was terrific back then and, even with numerous cast changes, it was just as terrific on Sunday afternoon.
A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore. Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.
The pandemic had different effects on different people.
Why did Ted Sperling and MasterVoices choose to perform an old warhorse like Carmen which has been produced almost continuously over decades just up the street at Lincoln Center?
The concert itself—starring Michael Fabiano, Nadine Sierra, Pene Pati and Lucas Meachem—seemed to be a beautiful affair that I would have loved to see it in a person.
The New York City Opera has become an elusive “now you see it, now you don’t” presence in the New York opera scene since the departure of main sponsor and chairman of the board Roy G. Niederhoffer in 2019.
To conclude its triumphant season, last week the Met Orchestra performed its annual Carnegie Hall concerts under music director Yannick Nézet-Séguin and once again performed superbly.
Steve adored puzzles, solving them and creating them, so it makes you wonder that this one continued to fester—was that so few of his songs attained the rank of “standard.”
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
Time to stop being coy, I think. You and I had quite different takeaways on the show, didn’t we?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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