Mozart’s masterpiece continues to pose problems for today’s directors.

Blue feels like the apotheosis of WNO’s efforts to further the art of opera.

A young cast sparkles in Mozart’s classic comedy.

J’nai Bridges seems poised to be the next great American mezzo

WNO wants to address a problematic classic, but the results feel like a punt.

Virginia Opera’s production of Rossini’s Cenerentola hits the right notes.

WNO’s American Opera Initiative brings new voices to the stage with impressive results.

Returning from abroad, an American heldentenor makes a big impression.

As productions get increasingly creative, has what we expect from The Magic Flute changed?

Good news: WNO solves a key problem with staging Verdi’s Otello.
Bad news: There’s still a long way to go.

Opera Philadelphia resets expectations on the operatic experience, and everyone wins.

Want proof we’re living in the golden age of opera in America?
Visit Opera Philadelphia’s O19 Festival.

Wolf Trap Opera figures out how to make Strauss’ Ariadne auf Naxos a coherent and engaging winner for cast and audience alike

The second cast is impressive

The singing soars, but bad directing drives WNO’s new Tosca straight into a dramatic rut

BSO reprises an American classic, reminding us of an ongoing American problem…

The work of Marc Bamuthi Joseph is exploding across America.

WNO's production soars with a solid cast and visual flair.

WNO's production of Terence Blanchard's opera hits hard.

WNO's production of Jake Heggie's Dead Man Walking focuses on the opera's dramatic strengths.

Opera Lafayette performs a precursor to Beethoven's Fidelio composed by a guy named Pierre Gaveaux.
And it's pretty damn good.