How often does an opera audience seem united by one big, heady communal high? That was the feeling...
Patrick Dillon
The Metropolitan Opera Champion “There wasn’t a weak performance onstage”
There’s a fistful of good reasons for seeing Champion. There’s the story, a real and strong one:...
The Metropolitan Opera La bohème Nézet-Séguin “was greeted with the evening’s heartiest cheers”
In his not-quite-fourteen years at The Metropolitan Opera, that compact bundle of...
Metropolitan Opera Falstaff “Everything about [Rustioni’s] deft, graceful, shipshape account of this infinitely rewarding score seemed unobtrusively right”
Since its unveiling at London’s Royal Opera in 2012, Robert Carsen’s temporal transplant of...
Metropolitan Opera Lohengrin “musically this was indeed a classy show”
I didn’t much care for his Parsifal, and I liked his Flying Dutchman even less, but at the first...
Metropolitan OperaThe Hours A fine opera deserving of a smaller stage
Is Kevin Puts’s The Hours the best brand-new opera the Metropolitan Opera has presented in years?...
Teatro Nuovo Maometto Secondo “Vancouver native Simone McIntosh, lithe and lovely, whose crystalline high mezzo fully commanded Anna’s wide range”
Patience can be amply rewarded: Teatro Nuovo’s Maometto Secondo, thrice deferred, at last hit the...
Metropolitan Opera Lady Macbeth of Mtsensk Maestro Keri-Lynn Wilson “masterfully captured not just the score’s cornucopia of arresting sonorities but its vibrant pulse”
Some operas have grown on me over the years; some productions have, too. Lady Macbeth of Mtsensk...
The Metropolitan Opera Medea “Sondra Radvanovsky, giving one of the most fully immersive performances I’ve ever seen on an opera stage”
Is Luigi Cherubini’s Medea—or Médée, to cite the opéra-comique original of 1797—a prima-donna...
Summer 2022 Print Issue Letter from New York
New York City’s rich opera and theatre scene is back in full swing after the long pandemic silence; Patrick Dillon explores its awakening.