Lydia Steier’s “The Magic Flute” riffs on “The Princess Bride” and Hans Neuenfels’s “Pique Dame” explores the privileges money can bring.
Author Archives: ANTHONY TOMMASINI
The center has overhauled its summer offerings. But its signature festival is now suffering from an identity crisis.
Our critic helps intimidated newcomers learn what to listen to, where to hear it and how to find more of what you like.
Leon Botstein has a winner with his latest rescue project at Bard SummerScape: a 19th-century opera, once immensely popular but now obscure.
Carlus Padrissa’s staging, conducted by Laurence Equilbey, is part of the new mix of offerings at the Mostly Mozart Festival.
Listen to excerpts as our chief classical music critic explains why he loves the piece (while understanding why it provokes exasperation).
Some 700 people wandered among percussionists who were scattered around the Caramoor festival grounds playing John Luther Adams’s “Inuksuit.”
The Frick Collection’s music room, reminiscent of a 19th-century salon, is an ideal space for chamber music. So why is the museum getting rid of it?
The Modern Piano (+) Festival at Spectrum, a repurposed garage in Brooklyn, featured Ethan Iverson and the violinist Miranda Cuckson.