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Opera Reviews, News & Interviews

A King of Countertenors Arrives in New York With a Royal Orchestra

Let’s hope Franco Fagioli returns soon, as he remains one of the most exciting and moving talents in opera today.

By Christopher Corwin

In 2025, Teatro Nuovo’s Undersung Scores Get the Vocal Firepower They Deserve

In this season's 'La Sonnambula' and 'Macbeth,' the leading ladies rule the day.

By Gabrielle Ferrari

In 2025’s Love & Power, the Boston Early Music Festival Unearths Another Baroque Rarity

Each edition of the festival mounts as its centerpiece a fully staged revival of a near-forgotten opera—in 2025, BEMF chose Reinhard Keiser’s 'Octavia.'

By Christopher Corwin

Two Symphony Orchestras Tackle Wagner’s Supreme Masterpiece and Strauss’s First Opera with Mixed Results

By Christopher Corwin

In the Met’s Many Revivals, Sometimes Second Casts Finish First

By Christopher Corwin

‘Three! Seven! Ace!’: The Met Goes All in On ‘Queen of Spades’

By Christopher Corwin

Heartbeat Opera’s ‘Faust’ Finds the Humanity (and Humor) in the Hellish

By Gabrielle Ferrari

The Met’s ‘Antony and Cleopatra’ Reframes Ancient Tragedy Through the Lens of Propaganda

By Gabrielle Ferrari

‘Schoenberg in Hollywood’ Lands in L.A.

By Jordan Riefe

White Ties and Waltzes: What You Missed at This Year’s Viennese Opera Ball

By Christa Terry

‘Giulio Cesare’ Versus ‘Antony and Cleopatra’: Round Two

By Christopher Corwin

Claus Guth’s ‘Salome’ at the Met Says the Quiet Part Loud

By Gabrielle Ferrari

‘Ainadamar’ and the Death of Federico García Lorca Command the Stage at LA Opera

By Jordan Riefe

Soprano Elza van den Heever Is Tackling the Met’s ‘Salome’ Head On—or Off!

By Christopher Corwin

The Threepenny Opera: Extremely Wicked, Shockingly Evil and Weill

By Gabrielle Ferrari

Topflight Teamwork Makes for a Marvelous Met Mozart

By Christopher Corwin

Barrie Kosky On Why ‘The Threepenny Opera’ Still Cuts Deep

By Jordan Riefe

‘Moby-Dick’ Sails Confidently into the Met, and the Exhilarating Optimism of ‘Fidelio’ Arrives Just in Time

By Christopher Corwin

A Powerful Turn of the Screw at Juilliard Is Equal Parts Atmospheric and Urgent

By Gabrielle Ferrari

Spring Preview: Fight Doom and Gloom as Dance and Opera Speak Truth to Power

By David Cote

Edmond Dédé’s ‘Morgiane’ Is as Musically Rich as It Is Historically Significant

By Gabrielle Ferrari

Yuval Sharon On Ten Years of The Industry and His Next Moves

By Jordan Riefe

Heartbeat Opera’s ‘Salome’ Dares Us to Look

By Gabrielle Ferrari

Michael Hersch and Shane McCrae On Co-Creating ‘and we, each’

By Gabrielle Ferrari

Opera

Opera Reviews, News & Interviews

A King of Countertenors Arrives in New York With a Royal Orchestra

In 2025, Teatro Nuovo’s Undersung Scores Get the Vocal Firepower They Deserve

In 2025’s Love & Power, the Boston Early Music Festival Unearths Another Baroque Rarity

Two Symphony Orchestras Tackle Wagner’s Supreme Masterpiece and Strauss’s First Opera with Mixed Results

In the Met’s Many Revivals, Sometimes Second Casts Finish First

‘Three! Seven! Ace!’: The Met Goes All in On ‘Queen of Spades’

Heartbeat Opera’s ‘Faust’ Finds the Humanity (and Humor) in the Hellish

The Met’s ‘Antony and Cleopatra’ Reframes Ancient Tragedy Through the Lens of Propaganda

‘Schoenberg in Hollywood’ Lands in L.A.

White Ties and Waltzes: What You Missed at This Year’s Viennese Opera Ball

‘Giulio Cesare’ Versus ‘Antony and Cleopatra’: Round Two

Claus Guth’s ‘Salome’ at the Met Says the Quiet Part Loud

‘Ainadamar’ and the Death of Federico García Lorca Command the Stage at LA Opera

Soprano Elza van den Heever Is Tackling the Met’s ‘Salome’ Head On—or Off!

The Threepenny Opera: Extremely Wicked, Shockingly Evil and Weill

Topflight Teamwork Makes for a Marvelous Met Mozart

Barrie Kosky On Why ‘The Threepenny Opera’ Still Cuts Deep

‘Moby-Dick’ Sails Confidently into the Met, and the Exhilarating Optimism of ‘Fidelio’ Arrives Just in Time

A Powerful Turn of the Screw at Juilliard Is Equal Parts Atmospheric and Urgent

Spring Preview: Fight Doom and Gloom as Dance and Opera Speak Truth to Power

Edmond Dédé’s ‘Morgiane’ Is as Musically Rich as It Is Historically Significant

Yuval Sharon On Ten Years of The Industry and His Next Moves

Heartbeat Opera’s ‘Salome’ Dares Us to Look

Michael Hersch and Shane McCrae On Co-Creating ‘and we, each’

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