The latest reviews and critic recommendations from Opera.
In an unprecedented collaboration, the Columbus Symphony, BalletMet, Opera Columbus, and the Columbus Association for the Performing Arts (CAPA) have all joined forces to present West Side Story, the classic forbidden love story and rivalry between the Jets and the Sharks in a mesmerizing fusion of
Mark-Anthony Turnage has a provocative habit of turning unconventional narratives into opera
Michael Hersch took no prisoners with his new opera, AND WE, EACH, a production of the Baltimore musical organization, Mind on Fire, which had its New York premiere on February 6 at National Sawdust in Williamsburg, Brooklyn.
Opera Theatre of Saint Louis has a rich history in world premiers, often commissioning new works from significant composers and librettists.
Joe Hill-Gibbins’s new production of The Marriage of Figaro for English National Opera opened back in March 2020 for a single performance before Covid struck.
Anyone who’s spent enough time watching network TV knows an American criminal justice system that is built around simplistic stories of the good guys (hard-working prosecutors and police detectives) putting away the bad guys (“perps” of all stripes) with the help of brilliant DNA evidence that
The COC’s 2025 production of this masterpiece seamlessly blends performance practice tradition with a contemporary perspective on the story’s timeless themes.
Even though there’s no shortage of contemporary opera around, we all still long for the rediscovery of a delightful operatic work from the archives, particularly a comedy, of which there is a short supply.
Robert Carsen's vision is as uncompromising as ever, but the world has changed in three short years
The 17th and 18th centuries rode roughshod over the programming at the 92NY the other night, when that brilliant British baroque ensemble, the Orchestra of the Age of Enlightenment, and superb guest soloist, soprano Julia Bullock, bathed the audience in the warmth of what itself acknowledged was a l
The New York premiere of the Christopher Cerrone/Stephanie Fleischmann opera IN A GROVE, in Mary Birnbaum’s simply beautiful—or beautifully simple—production triumphed at La Mama Experimental Theatre Club on Saturday as part of the Prototype Festival.
It’s a mistake to dismiss Claus Guth’s production of Janacek’s Jenůfa as symbolically overwrought and interminably grey.
The lobby of the HERE Theatre in SoHo was buzzing after Saturday’s performance of the new opera EAT THE DOCUMENT—not just for the performance we’d just watched but for the memories of the age that the piece evoked for many in the audience.
Someone at the Met should have been giving out flu shots (before RFK Junior makes them illegal), because something is obviously going around the cast of the new AIDA.
Angelina Jolie is compelling in a movie that concentrates on the misery to the exclusion of almost everything else in the diva's life
Macabre and spectacular, this is Christmas fare as it once was and should still be, fully trusting its audience.
Richard Strauss’s DIE FRAU OHNE SCHATTEN (THE WOMAN WITHOUT A SHADOW), with a libretto by his long-time collaborator, Hugo von Hofmannsthal, has made a triumphant return to the Met with a stellar cast and the Met Orchestra in peak form under Yannick Nezet-Seguin.
Sarah Tipple brings the comedic opera to life with gloriously ridiculous period costumes, an outstanding cast and an abstract set that mirrors the plot’s absurdism with precision.
Malevolence, greed, the thirst for power and the never-ending quest for revenge dominate the Washington National Opera production of composer Giuseppe Verdi’s Macbeth.
Nostalgia isn’t what it used to be.
Words run out, as The Voice is lost and recovered
There are only three more performances, so book quickly.
Damiano Michieletto brings plenty of pizzazz to Offenbach's crowdpleaser, but wastes some of his on-stage talents
What did our critic think of SAN DIEGO OPERA PRESENTS LA BOHÈME at San Diego Civic Center? San Diego Opera celebrated the opening of its 60th season with Giacomo Puccini’s La bohème, the same opera the company staged to open its first season.
As usual, the gala concert of the Richard Tucker Music Foundation started off with an interloper from the golden age of opera: Richard Tucker himself, singing Mascagni’s “Addio alla Madre” from CAVALLERIA RUSTICANA.
