Rich and Meditative, ‘Primero Sueño’ at the Cloisters Brings Sor Juana to Life This rich, meditative opera succeeds where other operatic treatments of Sor Juana do not. By Gabrielle Ferrari
Prototype, the New York Festival of Avant-Garde Opera, Turns 12 There was a dizzyingly diverse spectrum of performances this year, with wildly divergent highs and lows. By Annie Levin
Michael Mayer’s Faux-Archaeologists Can’t Rescue His Entombed ‘Aida’ at the Met Mayer’s weak attempt to address opera’s recent struggles with its history of fetishization of “exotic” cultures adds nothing to the production. By Christopher Corwin
Striking Set Design and Strong Singing Elevate ‘Hansel and Gretel’ at the Royal Opera House By Frances Forbes-Carbines
St. Thomas, Trinity Church, David Geffen and Carnegie Hall: The Many Ways to Handle ‘Messiah’ By Christopher Corwin
‘La Bohème’ at the Royal Opera House Brings 19th-Century Paris to Life in Stunning Detail By Frances Forbes-Carbines
Asmik Grigorian’s Raw Passion Eclipsed Piotr Beczała’s Quiet Thunder at Carnegie Hall By Gabrielle Ferrari
Celebrating Czech Music at Carnegie Hall With Dvořák’s Piano Concerto and Janáček’s ‘Glagolitic Mass’ By Gabrielle Ferrari
‘The Tales of Hoffmann’ at London’s Royal Opera House Shines Even as It Stutters By Frances Forbes-Carbines
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