Find classical music concert, opera, ballet and dance reviews | Patricia Racette

Candide is a witty satiric fable, intelligent, literary but not to a fault, and vastly entertaining. Created by a team of collaborators who fell out at different times in the work’s 52 year history – at one point or another, Lillian Hellman, Richard Wilbur, John Latouche, Dorothy Parker, Stephen Sondheim and, of course, composer Leonard Bernstein had a hand in it – it is unique in the operat

Weill's neglected "American Opera" opens in Madrid with a refurbished production by John Fulljames and a strong cast led by Patricia Racette.

In Los Angeles, Patricia Racette was an impressive Salome but the orchestra was, as it should, the main character.

The Met revived Jurgen Flimm's modern production of Salome, with Patricia Racette making a successfu last minute role debut in the title role.

Richard Jones's production of Puccini’s Western opera La fanciulla del West is well sung, but fails to tap in to the Wild West atmosphere of the surroundings.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

Dmitri Tcherniakov turns Shostakovich's "satirical tragedy" into a riveting piece of theatre, help by an outstanding performance from Patricia Racette and a top class orchestral performance from new ENO Musical Director Mark Wigglesworth.

The Met's new production of Cav and Pag boasted strong musical performance, but its production, despite some interesting ideas, was not completely successful.

A triumph for Los Angeles Opera's new production of John Corigliano's The Ghosts of Versailles.

The Canadian Opera Company's popular production of Puccini's beloved opera returns, its beauty intact and more beguiling than ever, with a powerful lead performance by soprano Patricia Racette.

San Francisco Opera's thoughtful version of the 1955 opera Susannah, one of the most performed American operas, placing the story of Susannah and the Elders in the Appalachian hills of the 1930s. 

Andrea Chénier can seem more a series of scenes than a dramatic whole and it relies on exciting, charismatic luminaries to hold it together and keep the interest high. This revival of Nicolas Joël’s staging is a noble effort, but disappoints.

Although opera, as a genre, is easily celebrated for its capacity to move and transport an audience, it is rare to be emotionally disturbed by one. Tobias Picker’s Dolores Claiborne, which received its world première by the San Francisco Opera this week, achieves such a feat. In doing so, it will certainly garner notoriety, both as well-deserved praise and well-deserved condemnation.

The 91st season of the San Francisco Opera opened with a revival of Arrigo Boito’s Mefistofele in Robert Carsen’s well-traveled production. The staging extends Shakespeare’s metaphor: if the whole world’s a stage, then heaven, quite naturally, must be an opera house.

Alan Gilbert’s last few seasons at the New York Philharmonic have featured an opera in June. While previous efforts have featured elaborate staging, this year’s installment, Luigi Dallapiccola’s Il prigioniero, was performed in concert. For this particular work, which was written for radio broadcast, this seems only appropriate.

Not a new production, the Metropolitan Opera’s staging of Dialogues des Carmélites, originally directed by John Dexter in 1977, was nonetheless fresh and compelling in its approach and not at all tired, despite its age.

On Saturday night the Kennedy Center for Performing Arts was packed with ardent opera lovers who came to the Washington National Opera to enjoy one of Puccini’s most heartbreaking love stories, Manon Lescaut.

Continuing the experiment from the opening of the season, San Francisco Opera’s current run of Tosca has several performances occurring on consecutive days or in close proximity, necessitating two different casts. The Thursday opening made headlines when the leading lady was felled by illness and a new talent, Melody Moore, made her mark in storybook fashion.

Following a string of misses, the Theater an der Wien emerges from its recent dry patch with a new production of Puccini’s triptych which offers a winning cast, the best playing heard at the house in months, and a smart production.

Even though, unlike most American opera lovers, I am not a big fan of Puccini’s music, Tosca has a very special place in my heart. Set to the most heartbreaking and overwhelmingly beautiful music, this story of a classical love triangle ending in the three deaths never gets too old or too boring.

Having marked his 15th anniversary as the WNO’s artistic director earlier this month, Placido Domingo makes his final appearance as the company leader in the role of Oreste in Emilio Sagi’s production of Gluck’s Iphigenie en Tauride.The part is a fine choice for the artist.