Find reviews | Concerts, Opera, Dance, Kids events, Talks or lectures | United States | Diana Damrau

A new production of La Traviata, colorful and conventional, brings little new ideas but is a fine vehicle for a fine performance conducted by Yannick Nezet-Seguin that features a trio of excellent singers.

Los Angeles Opera's Tales of Hoffmann survives multiple cast changes to look and sound fabulous, but it drags dramatically.

Vittorio Grigòlo and Diana Damrau repeated and cemented their intense on-stage relationship at the Met in Bartlett Sher's new production of Roméo et Juliette.

Les Pêcheurs de Perles is a graceful if senseless piece, composed when Georges Bizet was only 25 years old and miles away from the psycho-musical drama of Carmen.

The two leads in the brand-new cast of the Met’s three year old production of Massenet’s Manon were unbeatable. 

The Vienna Philharmonic, the Westminster Symphonic Choir, Diana Damrau and Christian Gerhaher present a sublime Brahms Requiem on a snowy Sunday afternoon. 

This year’s revival of Mary Zimmerman’s La Sonnambula at the Met requires too much suspension of disbelief to seriously work, but it provides a fun and vibrant take on Bellini’s bel canto opera all the same. In the title role, Diana Damrau knocked it out of the park. 

On Monday night the Eisenhower Theater at the Kennedy Center for Performing Arts hosted a debut recital of internationally acclaimed German soprano Diana Damrau and her concert accompanist, French harpist Xavier de Maistre.

Verdi’s Rigoletto is possessed of a truly tragic plot. A physically disabled jester keeps his innocent daughter locked up except for weekly church visits, a situation which she only lightly resists. Rigoletto believes a curse is to blame for his daughter being killed, although she only dies as a substitute for the man Rigoletto himself has arranged to be assassinated.

When Franz Liszt conducted Le Comte Ory in Weimar, he said it “bubbled like champagne,” according to the Metropolitan Opera’s program note. It also noted that Liszt arranged for the audience to be served champagne in Act II.