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‘The Hours,’ New Opera Based On Woolf Novel, Maybe Just Needs...

Leslie Kandell -

Verdi’s ‘Don Carlo(s)’ Given Both Treatments In New York, Chicago

David Shengold -

Allan Clayton Probes Storm-Tossed Soul As The Met’s Peter Grimes

James L. Paulk -

Met’s ‘Idomeneo’ Revival Displays Lasting Charm Of A Ponnelle Classic

David Shengold -

Opera ‘Hamlet’: Fewer Words, Words, Words; Yet Not To Be Missed

David Shengold -

‘Lucia’ In The Rust Belt: Met Abandons Scotland And Scores A...

James L. Paulk -

Met’s ‘Eugene Onegin’ Mires Fine Singing In Swamp Of Busy Excess

David Shengold -

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 -
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