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BerlinRigoletto
Verdi: Rigoletto
Domingo Hindoyan; Bartlett Sher; Staatsoper Berlin; Michael Yeargan; Catherine Zuber; Donald Holder; Staatskapelle Berlin
New York CitySamson et Dalila
Saint-Saëns: Samson et Dalila
Giacomo Sagripanti; Darko Tresnjak; Metropolitan Opera; Alexander Dodge; Linda Cho; Donald Holder; The Metropolitan Opera Orchestra
New York CityThe Magic Flute: Holiday Presentation
Mozart: Die Zauberflöte
Nicholas Carter; Julie Taymor; Metropolitan Opera; Patrick Furrer; George Tsypin; Donald Holder
New York CityOtello
Verdi: Otello
Daniele Rustioni; Bartlett Sher; Metropolitan Opera; Es Devlin; Catherine Zuber; Donald Holder; The Metropolitan Opera Orchestra
New York CityOtello
Verdi: Otello
Michele Mariotti; Bartlett Sher; Metropolitan Opera; Es Devlin; Catherine Zuber; Donald Holder; The Metropolitan Opera Orchestra
BerlinRigoletto
Verdi: Rigoletto
Giacomo Sagripanti; Bartlett Sher; Staatsoper Berlin; Michael Yeargan; Catherine Zuber; Donald Holder; Staatskapelle Berlin
Neue Kritikenmehr...
Leinwandfähige Porgy and Bess in Amsterdam
Eric Owens singt Porgy mit Leib und Seele und ist mit seiner charismatischen Ausstrahlung der unbestrittene Held dieser Oper.
Porgy and Bess returns stronger than ever at the Met
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Back to Catfish Row for another revival of The Gershwins’ Porgy and Bess and James Robinson’s show continue to wow our writer.
Rolando Villazón’s staging of La sonnambula charms The Met
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Nadine Sierra stars as a highly affecting Amina in the tenor-turned-director’s revisionist take on Bellini’s bel canto masterwork.
Superb cast galvanizes the Met’s revival of Bartlett Sher’s Rigoletto
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This revival of the company’s 2019 Weimar-inspired staging of Verdi’s heartbreaking masterpiece is distinguished by stylish singing.
Superb cast delivers delights in the Met’s family-friendly Magic Flute
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Julie Taymor's whimsical 2004 staging of Mozart's Singspiel continues to please in the Met's condensed, English-language version.
And the winner is: Terence Blanchard’s Champion comes to the Met
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The compelling story of boxer Emile Griffith's struggles with guilt and sexuality are not ideally rendered in James Robinson's new production.