Tuesday, January 14, 2014
The LA Opera will present the West Coast premiere of John Corigliano's The Ghosts of Versailles during its 2014-15 season as part of a Figaro Trilogy.
Monday, January 13, 2014
The Wagner and Verdi bicentennials in 2013 reinforced certain negative attitudes about the two composers, writes Fred Plotkin. But the Britten centenary was filled with many revelations.
Tuesday, January 07, 2014
Anna Netrebko has pulled out of the January 9 and 13 performances of L’Elisir d’Amore at the Metropolitan Opera. Her replacement will make her company debut.
Thursday, January 02, 2014
The Metropolitan Opera's new production of Johann Strauss Jr.'s classic operetta Die Fledermaus bowed on New Year's Eve. David Patrick Stearns writes that this staging was too gussied up.
Friday, December 27, 2013
Marta Eggerth, the Austro-Hungarian operetta star and actress whose performing career lasted well into her late 90s, died on Thursday at her home in Rye, New York. She was 101.
Friday, December 20, 2013
In an interview with Fred Plotkin, Wayne S. Brown discusses the place of opera in the U.S. The artform, he says, "creates opportunities for creativity that is frequently embraced by other art forms.”
Tuesday, December 17, 2013
In 2013, Fred Plotkin attended 104 opera performances at 35 different companies. Here are the standout productions and recitals.
Friday, December 13, 2013
Despite heavy product placement and too much 3-D imagery, the Radio City Christmas Spectacular serves a purpose, writes Fred plotkin, of teaching young people to be good audience members.
Monday, December 09, 2013
What does it take to present all of Mozart's 20-plus operas? Operavore's Fred Plotkin talks to the founder of a London-based company that plans to do a two-decade cycle of the works.
Sunday, December 08, 2013
La Scala's gala season premiere Saturday opened with spontaneous applause for Nelson Mandela's memory and closed with mixed reviews for La Traviata.
Saturday, December 07, 2013
In Robert Carsen's production of Falstaff, 1950s England stands in for the Windsor of Shakespearean antiquity. The conceit mostly works, writes David Patrick Stearns.