The quintessentially Italian opera set during the California Gold Rush is being staged by New York City Opera.
A production at the Mostly Mozart Festival sees the title character as a sex addict, surrounded by a world made of bodies for him to conquer.
The Glimmerglass Festival gives starring opportunities to many worthy young singers.
Stagings of Handel’s ‘Alcina,’ Rimsky-Korsakov’s ‘The Golden Cockerel,’ Johann Strauss II’s ‘Die Fledermaus’ and Donizetti’s ‘Lucia di Lammermoor’ run the gamut from gloomy to absurd.
Santa Fe Opera’s world premiere casts the story of a hyper-modern titan in an old-fashioned light.
Dvořák’s work is a grand opera in the French style, mixing the personal and political with a dash of religion.
Bellini’s ‘Il pirata,’ starring Angela Meade, brings down the curtain on 20 years of bel canto opera at Caramoor
Anything goes in Venice during the Carnival season in this hilarious, historically informed staging of André Campra’s opera.
Oddly, for an opera about gay men, it was the women who had the most presence in New York City Opera’s performance of Péter Eötvös’s ‘Angels in America.’
At Opera Theatre of Saint Louis, the U.S. premiere of Philip Glass’s ‘The Trial’; a take on John Steinbeck’s ‘Grapes of Wrath’; and Mozart’s ‘La Clemenza di Tito’ in translation.
Among Alan Gilbert’s concluding concerts as music director of the New York Philharmonic is Wagner’s ‘Das Rheingold.’
Highs and lows of the festival’s opera program in ‘Eugene Onegin,’ Farnace’ and ‘Quartett’
On Site Opera presents a story of revolving love interests in this abbreviated production of the 18th-century work.
A Debussy opera that takes place inside the minds of its characters; the story of a talented black baseball player who died just before Jackie Robinson broke the color barrier.
New York City Opera stumbles with a difficult work: a plotless 18th-century allegory in which the four Elements debate their respective powers.
Fort Worth Opera’s latest world premiere is a series of courtroom vignettes drawn from a crime reporter’s experiences.
At the Met, Renée Fleming’s final performances in one of her signature roles; at the Duke, a radical updating turns Figaro into an illegal immigrant.
Ottorino Respighi’s opera is a disjointed mix of musical influences.
Updated stagings and unique venues offer opera fans the chance to take in works from Britten, Purcell and Rossini from a new perspective.
William Bolcom’s opera, based on the play by George S. Kaufman and Edna Ferber, is an exercise in nostalgia.
Performances of Wagner in Toronto and Rossini in Philadelphia helmed by Christine Goerke and Stephanie Blythe, respectively.
In Mary Zimmerman’s new production of Dvorák’s opera, the title character is always ‘the other’—physically awkward in the forest and hesitant in the human realm.
At the Prototype Festival, multimedia works fuse genres while taking on sexuality and race.
At 88, Hal Prince returns to direct a close recreation of the opera-house staging he originated.
This world premiere tells the story of the Dutch-born exotic dancer and courtesan who was executed as a spy by the French in 1917.