Dead Man Walking, the opera, has enjoyed a remarkable life: it’s been around for twenty-three...

Dead Man Walking, the opera, has enjoyed a remarkable life: it’s been around for twenty-three...
What is it about Schubert song cycles that attracts the Regie gang? In recent years Christof Loy,...
Few operas can have enjoyed a splashier premiere than Francesca Caccini’s Alcina. In the Florence...
“Wort oder Ton?”: which has the upper hand, the words or the music? That centuries-old debate, as...
How often does an opera audience seem united by one big, heady communal high? That was the feeling...
There’s a fistful of good reasons for seeing Champion. There’s the story, a real and strong one:...
In his not-quite-fourteen years at The Metropolitan Opera, that compact bundle of...
Since its unveiling at London’s Royal Opera in 2012, Robert Carsen’s temporal transplant of...
I didn’t much care for his Parsifal, and I liked his Flying Dutchman even less, but at the first...
Is Kevin Puts’s The Hours the best brand-new opera the Metropolitan Opera has presented in years?...