Opera News | Observer

Opera Reviews, News & Interviews

The Met’s Crowd-Pleasing ‘Andrea Chénier’ Is Marred By Miscast Lovers

The opera house's current revival, its first in nearly a dozen years, features an attractive, HD-ready cast that only sporadically rises to the occasion.

By Christopher Corwin

Amid Governmental Interference, Opera at the Kennedy Center is Flourishing—for the Moment

In times of crisis, the art form remains a powerful medium for connection.

By Christopher Corwin

Opera Traditionalists Will Adore the Met’s Opulent 1980s ‘Arabella’

Sopranos Rachel Willis-Sørensen and Louise Alder find their “Right Ones” in Strauss’s winning comedy.

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

‘Happy Birthday, Bill!’—America’s Gift to the French Baroque Turns 80

By Christopher Corwin

Joseph Bologne’s ‘The Anonymous Lover’ Is Surprisingly Unfunny in Philadelphia

By Gabrielle Ferrari

Rich and Meditative, ‘Primero Sueño’ at the Cloisters Brings Sor Juana to Life

By Gabrielle Ferrari

Prototype, the New York Festival of Avant-Garde Opera, Turns 12

By Annie Levin

Michael Mayer’s Faux-Archaeologists Can’t Rescue His Entombed ‘Aida’ at the Met

By Christopher Corwin

Striking Set Design and Strong Singing Elevate ‘Hansel and Gretel’ at the Royal Opera House

By Frances Forbes-Carbines

St. Thomas, Trinity Church, David Geffen and Carnegie Hall: The Many Ways to Handle ‘Messiah’

By Christopher Corwin

On Family, Faith and Ensemble Work: Incandescent Soprano Angel Blue Opens Up

By Annie Levin

Opera

Opera Reviews, News & Interviews

The Met’s Crowd-Pleasing ‘Andrea Chénier’ Is Marred By Miscast Lovers

Amid Governmental Interference, Opera at the Kennedy Center is Flourishing—for the Moment

Opera Traditionalists Will Adore the Met’s Opulent 1980s ‘Arabella’

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’

‘Happy Birthday, Bill!’—America’s Gift to the French Baroque Turns 80

Joseph Bologne’s ‘The Anonymous Lover’ Is Surprisingly Unfunny in Philadelphia

Rich and Meditative, ‘Primero Sueño’ at the Cloisters Brings Sor Juana to Life

Prototype, the New York Festival of Avant-Garde Opera, Turns 12

Michael Mayer’s Faux-Archaeologists Can’t Rescue His Entombed ‘Aida’ at the Met

Striking Set Design and Strong Singing Elevate ‘Hansel and Gretel’ at the Royal Opera House

St. Thomas, Trinity Church, David Geffen and Carnegie Hall: The Many Ways to Handle ‘Messiah’

On Family, Faith and Ensemble Work: Incandescent Soprano Angel Blue Opens Up

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