OPERA

by Richard Sasanow - December 21, 2025

Lincoln Center Theatre’s new Kenny Leon production of Gian Carlo Menotti’s AMAHL AND THE NIGHT VISITORS, presented in association with the Metropolitan Opera, is hardly “A Charlie Brown Christmas” or “The Nutcracker.” Yet it manages to give us faith, hope and charity at a time we could all use more ...

by Franco Milazzo - December 17, 2025

The Royal Opera House’s Turandot has now been running so long it feels less like a revival and more like a listed structure. You don’t attend it so much as pass through it, like a familiar corridor or a particularly grand roundabout. With close to 300 performances under its belt and two runs in this...

by Gabby Ziccarelli - December 12, 2025

As the houselights dim at the Metropolitan Opera, the Julie Taymor–directed The Magic Flute transports viewers into a buoyant and kaleidoscopic fairy-tale dreamworld. This abridged, English-language production is a visually sumptuous version of Mozart's singspiel bathed in bold primary colors, shape...

by Gary Naylor - December 10, 2025

Musically impressive with real high points, the drama does not quite hold together...

by Richard Sasanow - December 07, 2025

When I read that the Met, in the program notes for James Robinson’s production of PORGY AND BESS, called it “a supremely American operatic masterpiece” I couldn’t help but think of Stephen Sondheim’s answer (perhaps apocryphal) when he was asked whether SWEENEY TODD was an opera or a musical: “If it...

by Alexander Cohen - December 08, 2025

We still don’t know what Kurt Cobain did in the days before his suicide in 1994. Gus Van Sant offered one hallucinatory guess in Last Days, refashioned into opera by Oliver Leith and now revived at the Royal Ballet And Opera....

by Gregory Fletcher - December 03, 2025

Performed with exquisite control by the Ekmeles Vocal Ensemble, the hour-long concert of DAVID LANG'S THE LITTLE MATCH GIRL PASSION becomes something far larger than the sum of its parts....

by Richard Sasanow - November 26, 2025

For those of us who like verismo opera—combining the raw emotions of everyday people with historical splendor—but have heard one too many BOHEMEs, TOSCAs, TURANDOTs and BUTTERFLYs in this lifetime, noting Giordano’s ANDREA CHENIER in the Met’s repertoire for this season seemed like a godsend. Not se...

by Clementine Scott - November 21, 2025

Here are all the hallmarks of any good Shakespearean comedy: love polygons, gender trouble and a shipwreck to get things going. However, in Handel’s Partenope there is one crucial difference: everyone here is self-aware....

by Richard Sasanow - November 12, 2025

For all those operagoers tired of classics set in rodeos, Las Vegas or on a space station (Paris has a BOHEME of that ilk), Otto Schenk’s production for ARABELLA, with stage design by Gunther Schneider Siemssen, dating back to 1983, will be a relief. It features a return to “old Vienna,” including a...