James Jorden

Bronze-toned Jonas Kaufmann streams effortlessly into your living room in the Met’s new solo recital series.

Streaming performances from the Met and the American Symphony Orchestra are this week’s picks for the best opera to watch online.

From Lincoln Center to a warehouse in Brooklyn, the best opera performances of the 2010s sear the memory.

A spectacular debut by dramatic soprano Lise Davidsen crowns a striking revival of Tchaikovksy’s ghost story.

A wedding conducted by an Elvis impersonator is the least of this wrongheaded production’s problems.

The radiant soprano Angel Blue as Bess carried an uneven revival in which Porgy seemed absent.

At the Met Opera, debuting tenor Stefan Vinke not only sang every note of his enormous role, he realized the impossible dream of making Wagner’s hero lovable.

The profundity of Mozart’s ‘La Clemenza di Tito’ has been rediscovered by virtuoso singers performing in an heirloom production at the Met.

Anna Netrebko made her role debut as Tosca at the Met—her first performance of the part ever—and proved that the long tradition of the show-stopping opera diva is far from dead.

‘Cendrillon’ reaffirmed the most basic truth of every fairy tale, antique or Disney…

“She was practically giving a one-woman show.”

LoftOpera’s ‘Stabat Mater’ is too gloomy and BAM’s ‘Three Way’ feels tame.

Dazzling conducting by Yannick Nézet-Séguin jolts Wagner’s tale of zombie sailors to vivid life.

A sparkling production of the obscure Respighi opera La Campana Sommera is more than just excellent in all its parts: it places NYCO squarely back where it belongs, in the front rank of New York…

So in a practical sense whatever happened dramatically in this Puritani was driven by Damrau aggressive physicality, darting and swooping and twitching to express the heroine’s incipient madn…

“Reading the texts…I found to my fear and horror, words that killed, words that told every time of women’s undoing.” So wrote feminist critic Catherine Clément in her controversial 1979 study…

Early in the first act of Kaija Saariaho’s L’amour de Loin, which enjoyed a successful Metropolitan Opera premiere last night, a dreamy troubadour describes his ideal lover as “belle sans l’a…

Three new operas impress to varying degrees

7 lessons the Met can learn from Stuttgart and Berlin.

At the Met the role of Hanna is assigned to Renée Fleming, undoubtedly a superstar but miscast here in every conceivable way. Plus, homophobic stereotypes abound.