BLO's electrifying Rape of Lucretia a revelation

Review

This production of The Rape of Lucretia was presented as one of BLO's now-signature installation operas: in this case, much of the action was concentrated on a relatively small circle in the center of the Arts for Humanity Epicenter building.

Vocal versatility at its finest: Brownlee & Owens in concert

Review

Seated precariously close in the second row, I probably had a dorky, star-struck look plastered on my face as I took in the high caliber classical singing.

A 21st-century classic: Onegin "with the leaves"

Review

When someone mentions Tchaikovsky's opera, the image in my head is of a starry-eyed Renée Fleming in a white nightgown in front of a clear blue background on a stage covered in thousands and thousands of gold and orange autumn leaves.

A Figaro for a New Generation: Victoria Stevens

Interview

"I am also excited to have a predominantly female production team around me, made up of inspiring women with strong ideas and the conviction to realise them."

Actual fun at the symphony with The Second City

Review

Audience stereotypes, flute-sex toy jokes, the inflated power of theatre ushers - it was all coming at me like a good roast. It was like that weird experience where someone tells you about yourself, picking out details that seem random or unexpected.

A new household name: George Benjamin

Review

This was an example of intelligent, thoughtful programming, a wonderful way to showcase Ensemble Modern, and an opportunity to feature the work George Benjamin, a true household name by now.

Chicago Ariodante pulses with emotion and suspense

Review

This Ariodante exemplifies what I hope to see more of from the Lyric in future seasons: creative, specific staging performed by committed and compelling singer-actors, with top-notch direction in the pit.

Talking with singers: Frederica von Stade

Interview

"I've been singing from the time I was three. Singing has always been a great comfort. As a child I had a wild imagination and I was always creating little scenes. If I was playing with leaves, I would make pathways and roads."

Vivaldi's Aztec exoticism: Montezuma

Editorial

If we look too closely with our 21st-century lens, Montezuma could be seen as problematic. Why champion the Spanish, when their colonialism was so vicious?

Smetana's Dalibor gets reality show treatment at Oper Frankfurt

Review

The program's narrative is constructed from carefully monitored, highly produced confessionals. Applause signs and sensational graphics provoke tailored reactions from the studio audience, which itself seems on the show's payroll.