The Grand Salzburg Hotel
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Bass-baritone Le Bu’s recital with Vocal Arts DC highlighted his linguistic and timbral versatility.
A new production of Die schweigsame Frau at the Berlin Staatsoper has precious little to say.
It has become that time of evening… to opine during the latest round of The Talk of the Town.
I was a huge fan of Anna Netrebko.
Christopher Corwin picks the flowers of a baroque May in New York City with reviews of concerts starring Lauren Snouffer, Key’mon Murrah, and the Oratorio Society of New York.
The mesmerizing run of Trovatore in October 2015 at the Met, a few months after we learned that Hvorostovsky was dying
Fast-rising Verdi baritone Ariunbaatar Ganbataar is the subject of this week’s Grand Tier Grab Bag.
Handel’s Deidamia — and one of its current champions, soprano Sophie Junker — are the subject of this week’s Grand Tier Grab Bag.
Grand Tier Grab Bag hearkens back to the days when Sondra Radvanovsky — who is singing no Verdi at all next season — seemed like the Verdi soprano of reference.
Parterre Box features the Met’s current Eugene Onegin, Iurii Samoilov, in a performance of Rossini ahead of a return to Pesaro this summer.
Nostalgic for bass month, Parterre Box offers excerpts from two young basses to watch: Giorgi Manoshvili and Patrick Guetti.
Rosa Feola, still scheduled for a run of performances as Violetta in New York this spring, is the subject of this week’s Grand Tier Grab Bag.
Fast-rising Verdi baritone Ariunbaatar Ganbataar is the subject of this week’s Grand Tier Grab Bag.
Here in Chicago, I’ve had many a shot at listening to Riccardo Muti as a Verdi conductor.
Don’t expect any sweeping statements from Franz Welser-Möst ‘s polished, if dramatically inert, Fidelio.
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
I’ve never been shy about my adoration of Anna Moffo.
Iain Bell and Lydia Steier‘s Medusa stuns in Brussels.
My favorite Verdi performance is the iconic 1960 RCA recording of Otello with Jon Vickers in the title role and the Rome Opera Orchestra and Chorus under the baton of the masterly Tullio Serafin.
The immortal Renata Tebaldi, just about 29 years old as Saint Joan in a RAI broadcast of Giovanna d’Arco from 1951.
The mesmerizing run of Trovatore in October 2015 at the Met, a few months after we learned that Hvorostovsky was dying
Here in Chicago, I’ve had many a shot at listening to Riccardo Muti as a Verdi conductor.
I’ve never been shy about my adoration of Anna Moffo.
My favorite Verdi performance is the iconic 1960 RCA recording of Otello with Jon Vickers in the title role and the Rome Opera Orchestra and Chorus under the baton of the masterly Tullio Serafin.
Brigitte Fassbaender’s acid-laced production of La finta giardiniera leans into the absurdities of Mozart’s early dramma giocoso.
Tebaldi, at La scala, in one of her nights of glory, where the voice poured out effortlessly, singing with utter conviction, and no soprano ever appealed to God more fervently.
My contribution this month honors the great Sherrill Milnes in his electrifying performance of Iago’s credo (1979, Met).
Tired of Turandot? “The Dancing Goddess” at the China Institute Gallery gives us a glimpse at a real Peking Opera queen.
Much as I love the Abbado Deutsche Grammophon studio set, this 1980 San Francisco Opera live Simon Boccanegra under Lamberto Gardelli has an emotional punch.
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