It’s the first major performing arts venue in New York City to require proof of a third vaccination.
Robert Lepage’s production design is unforgettable, and the giant machine that serves as its centerpiece is distinctive enough to seem like its own character.
At first, the opera seemed relevant to today’s re-evaluation of gender norms. But the narrative does not bear out this interpretation.
The Met’s new production of Così fan tutte stages the comic opera at a Coney Island-style amusement park circa the 1950s.
The Metropolitan Opera’s lone contemporary production this season is an adaptation of Buñuel’s 1962 film about the Spanish aristocracy, The Exterminating Angel.
If asked to choose an opera in the category of “most satisfying,” I would choose Richard Strauss’s brilliant Der Rosenkavalier (The Knight of the Rose, 1911).
When I was 14, after reading yet another biography of Verdi, I asked my mother, “Do women write operas?” She looked at me with incredulity and responded, “Never heard of any.”
L’Amour de Loin, by the Finnish composer Kaija Saariaho, receives a dazzling production that sets the self-aware tale of unrequited love on a flickering sea of LED lights.
Musically and visually, the Metropolitan Opera’s first staging of Gioachino Rossini’s Guillaume Tell in over 80 years is a tremendous success.
The Met’s new production of Puccini’s Manon Lescaut, directed by Richard Eyre, takes place in a meticulously, even extravagantly realized World-War-II France, with sidewalk cafes and lots of Nazis.
Inevitably, the history of Black American opera chronicles not just perseverance and accomplishment, but also racism and exclusion.
Clouds, shadows, and other mirrors of the soul have long led protagonists into temptation in order to deliver audiences from evil.