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A vibrant new production of Scott Joplin’s Treemonisha at Washington National Opera underscores the opera’s enduring message of education, community and social justice.

Back to Catfish Row for another revival of The Gershwins’ Porgy and Bess and James Robinson’s show continue to wow our writer. 

Despite some confused visual elements, an excellent musical performance makes Seattle Opera's production well worth watching.

Is it possible to have a minor success on every level? Kevin Puts' The Hours underwhelms in its world premiere production at the Metropolitan Opera. 

Denyce Graves, once the reigning Carmen of her day, directs a new production full of interesting choices that rarely cohere.

James Robinson’s production allows the large cast of Catfish Row to interact like the old pals – almost family – that they are.

The Met’s new production is directed by James Robinson, who has the characters interacting and listening to one another as if in real life – the inhabitants of Catfish Row have known each other for all of their lives and love, pray and grieve like family.

Yannick Nézet-Séguin and Kevin Newbury see Candide as a coming-of-age story, placing it in their own high-school years, specifically 1992, making Westphalia a USA knockoff.

The cast, sets, costumes and direction of Muhly's opera Marnie impress, but the music somehow falls short of expectations.

Washington National Opera continues its cycle of social justice operas.

Highly idiomatic and effective singing by Greer Grimsley, Denyce Graves and other cast members, coupled with inventive stagecraft wizardry, make the Minnesota Opera's first-ever Rheingold a memorable production.