Lydia Steier’s “The Magic Flute” riffs on “The Princess Bride” and Hans Neuenfels’s “Pique Dame” explores the privileges money can bring.
“Moses,” a production by the Bavarian State Opera’s youth program, brings together a cast of teenage refugees, children of immigrants and Germans.
A recent adaptation, captured on a new recording, makes a new case for “A Quiet Place,” which has had a rocky history.
Twelve days. Nine sprawling performances. Two cities. One Kirill Petrenko, whose conducting is “molten, combustible, an eruption of color.”
Without the public rancor of their last negotiations, the Met and its orchestra and chorus reached a tentative labor deal. But its terms are secret for now.
The director Romeo Castellucci discusses a crucial moment in his enigmatic new production of Richard Strauss’s “Salome” for the Salzburg Festival.
Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
Our critic helps intimidated newcomers learn what to listen to, where to hear it and how to find more of what you like.
Our critic takes stock of three shows at the festival: Bernstein’s “West Side Story,” Kevin Puts’s “Silent Night” and Janacek’s “The Cunning Little Vixen.”