The latest reviews and critic recommendations from Opera.
As I sat down to write about the delightful recent performance I heard of Rossini’s IL TURCO IN ITALIA at Madrid’s Teatro Real, with soprano Lisette Ororpesa in a charming new production by Laurence Pelly, I went to Spotify to see what kind of recordings were around.
As I sat down to write about the delightful recent performance I heard of Rossini’s IL TURCO IN ITALIA at Madrid’s Teatro Real, with soprano Lisette Ororpesa in a charming new production by Laurence Pelly, I went to Spotify to see what kind of recordings were around.
It is a brilliant production of the second-most produced American opera.
As a first taster to opera, Opera Holland Park's Hansel and Gretel isn't a bad place to start.
Sublime voices overcome a troubled concept.
Adele Thomas' new production is a rollicking clash of carnivalesque weirdness and heartfelt desire.
Thomas Guggeis, the young German conductor making his Met debut, is Kapellmeister at the Staatsoper Berlin and the designated Generalmusikdirektor of the Oper Frankfurt; pretty impressive for one who has yet to hit his 30th birthday! His Met debut was justly anticipated, as across Europe he is k
It’s a masterpiece! Tosca has opened at Opera Theatre of St.
Last Saturday Opera Theatre of St.
Of all the theatre directors that the Met has marshalled into its forces, Simon McBurney--who brought his version of Mozart’s DIE ZAUBERFLOTE (THE MAGIC FLUTE) to the Met on Friday in his house debut--may be the most successful in melding music and theatre, storytelling and visual elements.
IL TABARRO has a special relationship to New York, since it’s the only Puccini to premiere here at the Metropolitan, in 1918.
The glorious music of Puccini remains the principal reason to see the Washington National Opera’s (WNO)current production of the beloved classic opera La bohème.
While I’ve always been bothered by the cruelties and misogyny of the main character, Mozart’s DON GIOVANNI has (musically) been my favorite of the composer’s operas, though either casting or design has been a regular issue in bringing off the work at its best.
In an opera filled with gorgeous music, it’s hard to beat the end of LA BOHEME’s Act One, with the trifecta of arias about young love.
Maybe the Met should stop thinking about THE MERRY WIDOW and DIE FLEDERMAUS when it takes a turn at operetta—let alone the bevy of comic operas by Rossini and Donizetti that are given more than their due on a regular basis—and let Gilbert & Sullivan (G&S) have a turn at bat.
There are no supernatural women arriving on horseback to escort slain warriors to the afterlife--just a trio of mermaids, a couple of giants and a loveless dwarf, along with a bunch of gods, demi-gods and grotesque humans in Richard Wagner’s DAS RHEINGOLD, the first part of the composer’s Ring c
While there’s always a great deal of talk about where the next generation of operagoers is coming from, there’s much less hand-wringing about the sources of the new generation of singers.
A confident production of a conceptually flawed opera.
Nicolas Reveles was diagnosed with late-stage pancreatic cancer shortly after completing Ghosts, and it is tragic that he died just weeks before its world premiere in a San Diego Opera production.
Emphasising monochromatic melancholy with singers who do their best despite swimming in an ocean of drab uniforms.
Here it is, opera's answer to A Little Life: Kaija Saariaho's Innocence follows the aftermath of a school shooting and the emotional destruction felt by those connect to the event.
In search of new audiences, the Met has followed Terence Blanchard’s FIRE SHUT UP IN MY BONES with the jazz musician/composer’s first opera, CHAMPION, the story of closeted boxer Emile Griffith’s rise and fall from grace.
If we needed any further proof about how opera continues to evolve--as in “what’s an operatic experience?”--a concert at New York’s United Nations Headquarters featuring a live-and-in-person version of Paola Prestini‘s and Magos Herrera’s CON ALMA album celebrated International Women’s
It took Richard Strauss only about 100 minutes apiece (with no breaks) to tell the lurid tale of SALOME and the tragedy of ELEKTRA.
What did our critic think of RENE FLEMING GREATEST MOMENTS AT THE MET at A?
