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Reviews
Making the Case for Opera-in-Concert: Orlando at the Barbican
LONDON —Orlando is one of Handel’s finest Italian operas, full of good tunes and with a refreshingly simple plot offering excellent opportunities for five-star singers. Written in 1733 for the King's Theatre in London, a venue in … »
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Salonen Circles Back to Mahler 3 to Close SFS Season
SAN FRANCISCO—With the symphony’s season clouded by Music Director Esa-Pekka Salonen’s startling decision to depart in the middle of next year, at the conclusion of his five-year contract, this June 28 concert at Davies Hall … »
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Summer at SF Opera, Con't: Splendid Partenope, Uneven Flute
Innocence is not only the standout of San Francisco Opera’s summer season [see Monday's review] but one of the most significant achievements of the company in recent years—and a highlight of this past season overall. Were it not for … »
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The Pain and Insight of Innocence
SAN FRANCISCO—A year after Kaija Saariaho’s death at the age of 70, her final opera, Innocence , received its much-anticipated American debut this month at San Francisco Opera. The work’s reputation as a harrowing and innovative … »
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At Grange Park: A Suitably Edgy Katya
LONDON—Grange Park Opera is one of the more accessible and idyllic venues on the U.K.’s country house opera circuit. Comprising a purpose-built brick auditorium with excellent acoustics, surrounded by gorgeous formal gardens, and … »
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A Clever Coupling: George Lewis with Claudio Monteverdi
The world premiere of The Comet / Poppea on June 21 at the Geffen Contemporary at MOCA in Los Angeles demonstrated once again that Yuval Sharon is one of opera’s most imaginative directors. The 80-minute production melded a new score by … »
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A Vivid Aural Experience: Girls of the Golden West
When John Adams’s Girls of the Golden West premiered in November 2017, a great deal of ink was spilt arguing about form and function. Did Peter Sellars’s libretto, culled from diaries, letters, newspaper articles, and mining … »
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At Garsington: An Ideal Midsummer Night's Dream
LONDON—Garsington Opera has been snapping at the artistic heels of Glyndebourne Festival of late, delivering an impressive string of hits, many of them daring rarities . This year saw the completion of phase one of the £14.5 million … »
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Gambol at Glyndebourne:
A Very Merry Widow
LONDON—While Bernstein’s Candide (1956) is a musical that aspires to be an operetta, Franz Léhar’s Die Lustige Witwe (1905) looks in the opposite direction. Operetta, musical… what’s in a name? It’s a … »
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A Riveting Bluebeard Highlights MET Orchestra Concerts
The Metropolitan Opera made partial amends for the absence from its stage this season of two outstanding female singers previously active there, soprano Lisette Oropesa and mezzo-soprano Elina Garanca. The two were featured in two Carnegie Hall … »
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