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A visually captivating and lyrically authentic production by Doug Scholz-Carlson for the Lyric Opera of Kansas City.

A wonderfully realized production at San Francisco Opera of Jake Heggie's operatic version of a holiday classic. 

A conventional and quite predictable staging of Lehár’s most famous operetta was saved by dedicated musicians.

An unlikely double bill of Mozart and Pergolesi at the Lincoln Center's White Light Festival. 

Dance takes center stage in Lyric Opera of Chicago's bold season-opening co-production of Gluck's Orphée et Eurydice.

Zeffirelli excess and Woody Allen wit: Los Angeles Opera's season opens with a double bill of Puccini's Gianni Schicchi and Leoncavallo's Pagliacci.

This production's consistent visual beauty forms the setting for this Don’s musical approach. It is a testament to this ensemble that Mariusz Kwiecień can’t steal the show in spite of his utterly commanding physical and vocal presence as the Don.

What does any theatergoer want from a stage musical? For starters, beautiful singing, solid acting, striking costumes, clever direction, and characters to love and to loathe. A melodic score with a few toe-tappers and a smart book and lyrics. The new production of Camelot presented at the Glimmerglass Festival is that theatergoer’s dream – a crowning glory, a royal treat.

The arrival of Show Boat at the Washington National Opera this month, after stops in Chicago and Houston, has provoked a certain amount of consternation in operatic circles.

“Off with their heads!” I vividly recall being terrorized as a preschooler hearing Walt Disney’s sadistic, loud-mouthed Queen of Hearts thunder these signature lines. I have since learned that decapitation as capital punishment is not exclusive to the fictional Queen of Hearts of Lewis Carroll and Walt Disney, but rather grim historical reality.