Two star sopranos, Renée Fleming and Sonya Yoncheva, held court in two of New York’s grandest venues on Sunday.
This opera, by Mac and Matt Ray, is as much a celebration of theater itself as it is an example of the communion humans crave but have been deprived of.
Ricky Ian Gordon’s “Intimate Apparel” and “The Garden of the Finzi-Continis” are premiering in New York almost simultaneously.
The musical “Hadestown” and the opera “Eurydice” aim to offer new twists on a Greek myth. But when it comes to their heroine, they only go so far.
Amid the virus surge, the company is performing “Rigoletto,” “Le Nozze di Figaro,” “Tosca” and “La Bohème” in close succession.
Quinn Kelsey and Rosa Feola have earned raves playing a jester and his child in a new production of Verdi’s opera.
Listen to the warm, rich sound of Marilyn Horne, Janet Baker, Grace Bumbry and more.
‘Better Call Saul’ returns, Cecily Strong stars in a one-woman show, and Faith Ringgold gets an overdue retrospective.
Music by Liza Lim and Pamela Z, albums of Vivaldi and Walter Piston and work from a classic conductor are some recent recording highlights.
As the Omicron variant looms, Bartlett Sher’s production of Verdi’s classic is set to open on New Year’s Eve.
Drawn by cheaper tickets and a sense of glamour, New Yorkers in their 20s and 30s are making their way to the Met this season, many of them for the first time.
Children 5 and over must now have proof of vaccination to see shows and visit museums. As Covid-19 surges, arts organizations are trying to welcome their youngest audience members safely.
Broadway, where cancellations were once vanishingly rare, has seen a raft of them as positive coronavirus tests among cast and crew members have upended productions.
It is the first major performing arts institution to require boosters, as concern mounts over rising coronavirus cases and the spread of the Omicron variant. The rule will take effect Jan. 17.
Classics by Bach, Mozart and Brahms and new works by Andy Akiho, Angélica Negrón and Tyshawn Sorey were among our favorite recordings this year.
Rolando Villazón, a onetime star plagued by vocal issues, is returning to the house after eight years for “The Magic Flute.”
Based on the popular 1962 children’s book, the show aims to celebrate Blackness and attract new audiences to the art form.
The Metropolitan Opera returned with its first work by a Black composer, the repertory slowly got richer, and other highlights of the year.
Slowed but not stopped by the pandemic, Wilson has had a busy fall that continues with his production of “Turandot” at the Paris Opera.
Strict controls on playhouses and music venues are returning as the continent deals with a new coronavirus wave.
Erin Morley, a fixture at the Met for over a decade, is now singing the title role in “Eurydice.”
The composer Matthew Aucoin and Sarah Ruhl’s teeming, wearying adaptation of her play is a contemporary vision of the Orpheus myth.
Richard Jones’s bleak staging of Wagner’s “Die Walküre” in London offers a clean break from the extravagance of the Met’s most recent production.
After facing anger during a prolonged labor dispute, the Met Opera’s music director has returned to the podium, emphasizing new work.
Since the pandemic, San Francisco has embraced work-from-home policies. Now venues and concert halls are wondering if weeknight audiences are a thing of the past.
For Richard Jones, the director of a staging that will open in London and later travel to New York, this is a third attempt at Wagner’s epic.
A new box set explores the singer whose Lincoln Memorial concert was a 20th-century civil rights milestone.
“Iphigenia,” an update of the ancient Greek myth eight years in the making and decades in the dreaming, will begin a run of performances this month.
The Metropolitan Opera’s revival boasts strong performances but raises difficult questions about race and American music.
As some try to lure audiences back with short programs, the Metropolitan Opera is staging its longest work: Wagner’s “Die Meistersinger.”
Serge Dorny and Vladimir Jurowski, the leaders of the Bavarian State Opera in Munich, are starting their tenure with Shostakovich’s unruly “The Nose.”
Antonio Pappano is back for Wagner’s “Die Meistersinger von Nürnberg” at a turning point in his career.
Acquired taste is often richer than, as it were, the easy score.
Eun Sun Kim is the first woman to serve as music director of one of America’s largest opera companies. She aims to broaden the art form’s appeal in the digital age.
The trilogy of “The Damned,” “Death in Venice” and “Ludwig” is whole again, in editions that freshly reveal their conflicted queerness.
Listen to the best of opera’s defining diva, chosen by Patti LuPone, Renée Fleming, Marina Abramovic and many more.
Two critics discuss Terence Blanchard’s “Fire,” the Metropolitan Opera’s first work by a Black composer.
Michel van der Aa’s new opera weaves technology into a traditional form with masterly restraint for a sci-fi spin on a fundamentally human tale.
My memoir, “Fire Shut Up in My Bones,” became more than just a book. It was an opportunity to reach and help more people.
The company is performing the terse, original 1869 version of Mussorgsky’s “Boris Godunov” for the first time.
With Terence Blanchard’s “Fire Shut Up in My Bones,” the Met came back from its long pandemic shutdown more determined to draw new and more diverse audiences to opera.
Terence Blanchard’s fresh, affecting “Fire Shut Up in My Bones” reopened the opera house on Monday after an 18-month closure.
Melissa Clark takes in the drama with a side of snacks, neat and petite, to sustain her through the highs and lows.
William Grant Still’s “Highway 1, U.S.A.,” staged by Opera Theater of St. Louis, is available online until Sept. 30.
Terence Blanchard, a jazz trumpeter best known for scoring Spike Lee films, reopens the opera house with “Fire Shut Up in My Bones.”
The punchline is “Only an Octave Apart,” featuring the unlikely collaborators Justin Vivian Bond and Anthony Roth Costanzo at St. Ann’s Warehouse.
Feuding stagehands, falling props: It might sound like the plot of an opera, but in France it has been the subject of a court case.
Seemingly sweet yet insistently ominous, this opera installation turns a sandy beach into a spectacle of a changing climate.
Staged by the playwright and director Wajdi Mouawad, Enescu’s opera helps inaugurate a new era for the storied company.
“Sun & Sea,” an operatic installation that won the top prize at the Venice Biennale, is being staged at the Brooklyn Academy of Music.