En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Kevin Newbury

Arab-American tenor Karim Sulayman devises a thoughtful pastiche that centers the perspective omitted from Early Modern depictions of the Middle East in music.

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.

Fellow Travelers is shot through with darkness, making for a chilling performance by Lyric Opera of Chicago. 

Chicago's new Faust is a quest for youth but also a reflection on insipiration, fabrication and manipulation. 

Mason Bates's much-hyped first opera, The (R)evolution of Steve Jobs, excited Santa Fe audiences despite its dramatic shortcomings.

In the end, Newbury’s production leaves you with more questions than it answers. 

The thrills of Tudor (pseudo-)history and bel canto expressivity combine in the second of Donizetti's “Three Queens” operas, Maria Stuarda, making its company debut at Seattle Opera.

It is the fusion of textures and styles coming from the pit that gives Bel Canto a memorable musical profile.

Outstanding vocal performances and Oscar Wilde's own words don't save this new opera based on his incarceration at Reading Gaol. 

American soprano Sondra Radvanovsky is the reason to see Anna Bolena, though the production provides plenty of other reasons to stay. 

L'Opéra de San Francisco ouvre sa 92è saison avec Norma de Bellini, avec Sondra Radvanovsky dans le rôle de Norma et Jamie Barton dans celui d'Adalgisa.

The bits of conversation I overheard during intermission and in the aisles after the world première of Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera were assorted variations of “so, what did you think?” World premières are, indeed, auspicious occasions that privilege first-nighters to experience the work before anyone else has molded or influenced their thoughts about it.