MARTHA GRAHAM STUDIO THEATER

by Ron Bierman - February 20, 2026

Rossini’s Barber of Seville is a top ten opera in performances. Donors love it for its vocal gymnastics, memorable arias and sparkling melodies. Receptive newcomers like it because of its delightful bubbling overture, the familiar Figaro aria that soon follows, and its simple fast-moving sitcom-li...

by Franco Milazzo - February 07, 2026

Phelim McDermott directing Così fan tutte is a bit like asking a Catholic priest to do Mass in full drag. You know something deliciously outrageous is going to happen. You also know, whether people will like it or not, that it might be exactly what this masterpiece out of step with modern attitudes...

by Franco Milazzo - January 30, 2026

If Mussorgsky’s Boris Godunov were a dinner party, Richard Jones’s Russian-language revival at the Royal Opera House would be the dinner date where you arrive bright and curious and leave questioning your life choices, nursing a neat whisky in a corner. This is not an opera that gives up its sec...

by Richard Sasanow - January 27, 2026

The audience at New York’s 92nd Street Y the other night was certainly happy to be at a recital, “From Ordinary Things,” by the trio of soprano Julia Bullock, with her colleagues Seth Parler Wood on cello and pianist Conor Hanick. But there was almost nothing traditional about the proce...

by Michael Higgs - January 24, 2026

A revival of Cal McCrystal’s 2021 production, HMS Pinafore at the London Coliseum charms with wit, a stunning cast, and gorgeous Victorian designs....

by Richard Sasanow - January 22, 2026

The Verdi Messa da Requiem—better known to English speakers as the Verdi Requiem—featuring the Cleveland Orchestra and its Chorus, with a quartet of soloists, breezed into Carnegie Hall the other night and promptly knocked many concert-goers out of their seats....

by Erica Miner - January 20, 2026

Daphne in Concert, Seattle Opera’s latest offering in their series of concert presentations initiated in 2023, proved that the series concept is a successful one....

by Richard Sasanow - January 18, 2026

Yoo-hoo, Metropolitan Opera. Looking for something new/old/odd/wonderful? I hope you made it to the Prototype Festival’s WHAT TO WEAR, by Michael Gordon and Richard Foreman, staged by Paul Lazar and Annie-B Parson of Big Dance Theater following the original’s aesthetic from 2006. The opera just ...

by Richard Sasanow - January 16, 2026

From her first appearance on stage, it was clear that mezzo Aigul Akhmetshina was no flash in the pan when she gave us a scorching Carmen when this production was new just two years ago. The program describes the title character as “a force of nature” and that’s certainly what we got at the Me...

by Richard Sasanow - January 12, 2026

This is Beth Morrison’s first year as sole curator, producer and presenter of New York’s PROTOTYPE Festival of indie opera/music theatre. She’s also midwife for the birth of Sarah Kirkland Snider’s gorgeously composed HILDEGARD, its centerpiece, which I heard at the Gerald Lynch Theater at J...