Antonio Pappano‘s versatility in both German and Italian repertoire and beyond is both rare and impressive.
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.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Wozzeck. Yes, really.
Richard Lynn bravely asks what we’re hoping to get out of the continued Peter Gelb-bashing — and whether our expectations of him have ever been fair
The world premiere of Dolores and Charpentier‘s David and Jonathan bring the heat to West Edge Opera’s 2025 Festival.
Francesco Filidei’s new opera The Name of the Rose struggles to bridge the past and the present in Milan
Elza van den Heever and Peter Mattei (and the stage elevator) elevate an assertive, if not definitive, new Salome at the Met
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
It’s not so much that I hated the Met Opera’s Grounded. I’m just not convinced that it should have been an opera.
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
On this day in 1977 Alban Berg‘s Lulu premiered at the Metropolitan Opera in the as-yet incomplete 2 act version.
On this day in 1959 Alban Berg‘s Wozzeck had its Metropolitan Opera premiere (in English)
Instead of following the story, we in the audience spend most of the evening thinking “What?? Why is that happening?”
It’s been eight decades since darling Aix-en-Provence was under attack—its last formal invasion, at least by non-operagoers, was in 1942 during the German occupation of southern France. But on Friday, the town was besieged once again by its annual festival, with two dazzling premieres that examined the cruel and constructive dimensions of war and revolution.
Happy 58th birthday to actress and singer Vanessa Williams.
The Boston Symphony and Alban Berg’s “Wir arme Leut” spread musical riches at Carnegie Hall.
While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.
Last night’s cast of Die Meistersinger at the Met, dominated by the irascible, unbeatable duo of Michael Volle and Johannes Martin Kränzle as Sachs and Beckmesser, did much to enliven Otto Schenk’s creaky, nearly 30-year-old production.
Were Joan Sutherland and Marilyn Horne 20th century opera’s ultimate same-sex pairing?
On this day in 1963, the musical Tovarich opened at the Broadway Theatre, starring Vivien Leigh and Jean Pierre Aumont.
Ninety-five years ago, Evelyn Lear was born on January 8 in Brooklyn, and Trove Thursday remembers the soprano with one of her earliest successes: Schreker’s Die Gezeichneten co-starring her husband Thomas Stewart, Helmut Krebs and Franz Crass.
On this day in 1959 Alban Berg‘s Wozzeck had its Metropolitan Opera premiere.
Later this month Asmik Grigorian will star in Covent Garden’s new Jenufa, which Trove Thursday anticipates presenting the acclaimed Lithuanian soprano in a broadcast from 2014 of Tchaikovsky’s rare opera The Enchantress (Charodeyka).
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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