CriticÂs Notebook: Learning to Love Handel, Just in Time for ÂSemeleÂ
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Vivica Genaux, an international star, particularly in the early-music world, is making her return to New York opera.
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For the first time in nearly 20 years the Metropolitan Opera presented Verdiâs breakthrough early masterpiece in a stylistically eclectic, grimly effective and, at times, intriguingly playful production.
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By David Nicholson, Daily Press, Newport News, Va.  Mar. 9--NORFOLK -- Virginia Opera audiences have been paddling in unfamiliar waters in recent months with two productions -- Carlisle Floyd's "Susannah" and Handel's "Agrippina" -- never seen here before.
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The Finnish classical music label Ondine looks likely to begin collaboration with the renowned Philadelphia Orchestra.
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Andras Schiff is showing in his Carnegie Hall traversal of the sonatas is that a handful of relatively small but decisive steps lead from the Haydnesque playfulness  of Beethovenâs earliest works to the grand proclamations of the mature ones.
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Opera is revolutionary. It thrills the elite and masses alike, bops to Indian drums and grooves to glass-shattering Wagnerian arias in a mosh pit filled with British rockers.
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Leos Janacek has entered the opera mainstream in recent decades, but this Czech composerâs final and darkest opera, âFrom the House of the Dead,â has been largely overlooked, perhaps understandably.
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Even if you didnât like David Del Trediciâs music, you would be obliged to admire its intrepidity and self-confidence.
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Bruno Morettiâs music turns âOltremareâ into a theater piece both effective and evocative.
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Giuseppe Verdi's "Aida" fits the cliched concept of grand opera: a visual feast with big emotions, majestic scenes and an exotic touch like this love story set in ancient Egypt.
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The classical music critics of The New York Times list their favorite recordings of the year. Includes audio samples and links to related reviews.
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Confronto cantanti insieme al critico musicale del Giornale
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Luciano Pavarotti's colleagues recall some of their favorite times with the great tenor
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The Metropolitan Operaâs affecting revival of its 1997 production of Tchaikovskyâs âEugene Oneginâ is all the more impressive because it might have turned out so differently.
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A survey of Messiaenâs organ music performed by Gail Archer is sure to be among the yearâs highlights, to judge by the initial installment on Sunday afternoon.
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Itâs always an event when a tenor takes on Otello for the first time at the Metropolitan Opera.
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Verdiâs opera has two faces. It is spectacle on a royal scale, but also a love story wedding jealousy, honor and revenge to regime change.