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
With Precision and Playfulness, ‘La Fille du Regiment’ Considers Love, Loyalty and the Absurdities of War By Gabrielle Ferrari
Erin Morley and Lawrence Brownlee Bring ‘Golden Age’ Flair to the Met’s ‘La Fille du Régiment’ Revival By Christopher Corwin
Review: Opera Philadelphia’s Snappy Rare Rossini Without Stars and the Met’s Dour New ‘La Sonnambula’ By Christopher Corwin
Is ‘The Amazing Adventures of Kavalier and Clay’ the Opera We Need or Just the One We Deserve? By Gabrielle Ferrari
Anthony Roth Costanzo Brings Charles Ludlam’s 1983 Drag Fantasia to Little Island By Gabrielle Ferrari
At SummerScape, a Timely ‘Julietta’ Satirizes the Nostalgic Obsessions of Fascism By Gabrielle Ferrari
In 2025’s Love & Power, the Boston Early Music Festival Unearths Another Baroque Rarity By Christopher Corwin
Two Symphony Orchestras Tackle Wagner’s Supreme Masterpiece and Strauss’s First Opera with Mixed Results By Christopher Corwin
The Met’s ‘Antony and Cleopatra’ Reframes Ancient Tragedy Through the Lens of Propaganda By Gabrielle Ferrari