Spring Preview: Fight Doom and Gloom as Dance and Opera Speak Truth to Power The coming season promises opera that draws on everything from Herman Melville to jazz and blues, and dance that flows from breaking to ballet. By David Cote
Edmond Dédé’s ‘Morgiane’ Is as Musically Rich as It Is Historically Significant This opera has plenty to captivate beyond its status as the oldest opera by a Black American composer. By Gabrielle Ferrari
Yuval Sharon On Ten Years of The Industry and His Next Moves "I wanted The Industry to be much more than my little playground. I wanted it to be as broad and open-minded as what opera can be." By Jordan Riefe
Tenor Benjamin Bernheim Scores Another Triumph in the Met’s ‘Tales of Hoffmann’ Revival By Christopher Corwin
‘Silent Light’ at National Sawdust Captures the Sounds (and the Scents) of Everyday Life By Gabrielle Ferrari
Opera Underground: Caroline Shaw’s ‘Partita for 8 Voices’ and Gelsey Bell’s ‘morning//mourning’ at Green-Wood Cemetery By Gabrielle Ferrari
Teatro Nuovo Revives a Forgotten Bel Canto Opera by a Woman Composer for the First Time in Nearly 200 Years By Christopher Corwin
A Magnificent ‘Bluebeard’s Castle’ Crowns a Fine Met Season But Not at Lincoln Center By Christopher Corwin
Art World 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