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Weimar-Era ‘Rigoletto’ Accents A Dark Tragedy With Luminous Singing

David Patrick Stearns -

Eclectic And Inventive ‘Eurydice’ Whisks Met To, Well, A New Place

Susan Brodie -

Met’s ‘Meistersinger’: An Uneven Return To Time-Worn Tradition

David Shengold -

In A Visceral First, Met Opens With Black Opera About Child...

David Patrick Stearns -

Streaming Music: Like Concertgoing, Sans A Few Details

Arthur Kaptainis -

Met’s New Launch Of Wagner Classic Slow To Catch Sail

David Patrick Stearns -

DiDonato Sparkles In Voice And Style As Met’s Agrippina

David Shengold -

New Met ‘Wozzeck:’ Nightmare Descent Into Stark Madness

Vivien Schweitzer -

‘Akhnaten’ Makes Beguiling Impact In Vivid Met Debut

David Patrick Stearns -

Met’s New ‘Porgy’ Is Lavish, Stylized, Propulsive Staging

Susan Brodie -

Met ‘Ring’ Redux: Fresh Cast, Same Debated ‘Machine’

Matthew Gurewitsch -

Why ‘Tito’? Mozart Masterpiece Makes Rousing Comeback

Ilana Walder-Biesanz -

‘Adriana Lecouvreur’ (Or Cilea’s Comet) Blazes In Met Sky

David Patrick Stearns -

Gustavo Dudamel Debuts At Met With Lively ‘Otello’

David Shengold -

Yannick Salvages Met’s Garish New Take On ‘Traviata’

Vivien Schweitzer -

Muhly’s ‘Marnie:’ Fresh, Fascinating Despite Its Flaws

James L. Paulk -

Met’s New ‘Samson’ Is Great Spectacle Shorn Of Passion

James L. Paulk -

Amusement Park ‘Così’ Embraces Glitz Over Heart

James L. Paulk -

New ‘Tosca’ Launch At Met Survives Sweeping Exodus

Susan Brodie -

Adès’ ‘Angel’ Blazes In Party From Hell: No One Can Leave

David Shengold -
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