The New York Times – Music:
Three productions, including the premiere of Rhiannon Giddens and Michael Abels’s “Omar,” distort time in approachable yet provocative ways.
The New York Times – Music:
Three productions, including the premiere of Rhiannon Giddens and Michael Abels’s “Omar,” distort time in approachable yet provocative ways.
The New York Times – Music:
Samuel Mariño, a singer with a rare voice type in opera, is making his Decca album debut with a glimpse at a more gender-fluid future.
The New York Times – Music:
Robert Ainsley, a champion of new American opera, takes the reins from Francesca Zambello. He said the festival would continue to showcase work that tells “everyone’s story.”
The New York Times – Music:
Tobias Picker and Aryeh Lev Stollman have adapted “Awakenings,” drawing both on source material and personal experience.
The New York Times – Music:
The composer Stewart Wallace has overhauled his 1990s score and says “the music is freer now, and more organic, and yet completely recognizable.”
The New York Times – Music:
The British tenor Allan Clayton’s portrayal of the title role in Brett Dean’s opera is personal, emotional — and a breakthrough.
The New York Times – Music:
After playing Schubert’s Ninth Symphony just before the pandemic lockdown, the Cleveland Orchestra shone in its return to the sprawling work.
The New York Times – Music:
Philip Glass’s portrait of a pathbreaking pharaoh returns to the Metropolitan Opera for the first time since its hit debut there in 2019.
The New York Times – Music:
In the early 20th century, Smyth was probably the most famous female composer of her generation, but her music fell out of the repertoire. Glyndebourne Festival Opera is bringing back her 1906 maritime opera.