The Threepenny Opera: Extremely Wicked, Shockingly Evil and Weill Barrie Kosky brings his sleazy, sparkling production to BAM to sharp effect. By Gabrielle Ferrari
Topflight Teamwork Makes for a Marvelous Met Mozart Unlike many works by Puccini, Verdi or Wagner, Mozart’s operas demand charismatic singing actors working closely together with a minimum of diva/divo posturing. By Christopher Corwin
Barrie Kosky On Why ‘The Threepenny Opera’ Still Cuts Deep Nearly a century after its chaotic premiere, 'The Threepenny Opera' still exposes the machinery of power, performance and moral collapse. By Jordan Riefe
‘Moby-Dick’ Sails Confidently into the Met, and the Exhilarating Optimism of ‘Fidelio’ Arrives Just in Time By Christopher Corwin
Michael Mayer’s Faux-Archaeologists Can’t Rescue His Entombed ‘Aida’ at the Met By Christopher Corwin
Striking Set Design and Strong Singing Elevate ‘Hansel and Gretel’ at the Royal Opera House By Frances Forbes-Carbines
St. Thomas, Trinity Church, David Geffen and Carnegie Hall: The Many Ways to Handle ‘Messiah’ By Christopher Corwin
‘La Bohème’ at the Royal Opera House Brings 19th-Century Paris to Life in Stunning Detail By Frances Forbes-Carbines
Asmik Grigorian’s Raw Passion Eclipsed Piotr Beczała’s Quiet Thunder at Carnegie Hall By Gabrielle Ferrari
Celebrating Czech Music at Carnegie Hall With Dvořák’s Piano Concerto and Janáček’s ‘Glagolitic Mass’ By Gabrielle Ferrari
‘The Tales of Hoffmann’ at London’s Royal Opera House Shines Even as It Stutters By Frances Forbes-Carbines