A Magnificent ‘Bluebeard’s Castle’ Crowns a Fine Met Season But Not at Lincoln Center Yet dissatisfaction remains about music director Yannick Nézet-Séguin's role in where the company is headed. By Christopher Corwin
While U.S. Companies Struggle, German Opera Houses Move Ahead Ambitiously A recent visit to Germany found both the Hamburg and Berlin Staatsopers fearlessly, and successfully, mounting challenging operas of questionable popular appeal. By Christopher Corwin
How Tomer Zvulun Turned the Atlanta Opera Around Could his innovative approach to company management offer a solution to the mounting economic crisis in the world of opera? By Alexandra Tremayne-Pengelly
Cultural Comings and Goings: Brooke Lampley Leaves Sotheby’s for Gagosian and More By Alexandra Tremayne-Pengelly
Countertenor Anthony Roth Costanzo On Training, Technique and Radical Operatic Expression By Annie Levin
With Electrifying New Casts, the Met’s ‘Carmen’ and ‘Butterfly’ Are Worth a Second Look By Christopher Corwin
Explicitly Feminist and Vibrantly Colorful, the Met’s ‘El Niño’ Shines in More Ways Than One By Gabrielle Ferrari
Tenor SeokJong Baek Opens Up About His Tenor Transformation and the Pursuit of Success By Annie Levin
The Met Goes Three for Three with Sierra and Bernheim’s Unforgettable ‘Roméo et Juliette’ By Christopher Corwin
Review: Roman Grygoriv and Illia Razumeiko’s ‘Chornobyldorf’ Burns Bright at the Prototype Festival By Annie Levin