The latest reviews and critic recommendations from Opera.
Osvaldo Golijov’s AINADAMAR, which made its Met debut this week, with a libretto translated by the composer from the English original by David Henry Hwang, isn’t the first Spanish language opera at the Met, but it’s certainly the first to sound that way.
Isabella Bywater ratchets up the tension, as Ailish Tynan and Jerry Louth shine as the governess and her male charge.
If you're a parent, brace yourself - and enjoy the glorious singing and fine music writes our critic about TROUBLE IN TAHITI and THE QUIET PLACE.
Tobias Kratzer’s production pulls the rug from underneath you writes BWW's critic.
“This is not a cathartic tragedy or a tale of noble sacrifice.
It’s fascinating that within two weeks, as the new US opera season began in earnest, Northeast operagoers heard a pair of new (or new-ish) operas by well-known creators: the US premiere of THE LISTENERS at Opera Philadelphia, by Missy Mazzoli and Royce Vavrek and the much-revised GROUNDED by Jeani
Annilese Miskimmon reimagines the tragic tale against the backdrop of a convent in 1960s Ireland in an unsettling production with some outstanding performers that combine with Puccini's haunting score in a compelling production.
The Met performed the season’s first TALES OF HOFFMANN (LES CONTES D’HOFFMANN), by Jacques Offenbach, with libretto by Jules Barbier and Michel Carre, also a Sher production, and it was a different story.
Deservedly still Tchaikovsky’s most celebrated opera, Eugene Onegin astounds with angelic music that never ceases to amaze.
A match made in heaven? Girl meets boy.
What did our critic think of LUCIA DE LAMMERMOOR at Opera In The Heights?
“What angel wakes me from my flowery bed?” More often than not, when Shakespeare is adapted into different formats, the text is largely lost but the story remains - not so in this case.
Heavily reliant on strong vocals
Mozart, music and mayhem in a tale of an outfoxed aristocrat brought down to earth
In total transparency, I was apprehensive about this one because I’ve always associated opera with being outdated and inaccessible.
The Union Avenue Opera completes its 30th season with a lavish production of Into the Woods.
The term has become familiar and beloved to opera lovers since the late 19th century.
Opera Holland Park close out another acclaimed season with a rollicking Yeomen Of The Guard.
Saying that Giacomo Meyerbeer’s LE PROPHETE is long is like calling the Grand Canyon a pothole: It doesn’t begin to describe the experience, though they both sometimes have a rocky landscape.
Elephants? No elephants here.
If you want to see an opera based on Shakespeare’s “Romeo & Juliet,” head for Gounod’s version of the piece.
An opera doesn’t have to be totally obscure to catch Will Crutchfield’s bel canto eye—but it couldn’t hurt.
Directed by John Caird and, for this revival, Katherine M.
Opera Holland Park’s staging of Handel’s beloved Acis and Galatea is a smashing success that finds just the right balance between musical finesse and tongue-in-cheek comedy.
Opera Holland Park delivers two short pieces - an ideal introduction to the form's unique capacity to bring emotional weight to any story
