Royal Opera House 2017-18 Review – From the House of the Dead: Prison Drama Locks Up Its Singers

Teatro Filharmonico Verona 2017-18 Review – Manon Lescaut: Soprano Amarilli Nizza Overcomes Illness in Graham Vick’s Insightful Reading of Puccini Classic

Opera di Firenze 2017-18 Review – La Favorite: Sublime Cast Led By Fabio Luisi Salvages Dull Production

Lyric Opera of Chicago 2017-18 Review – Faust: Frame’s Unique Concepts Combine With Glorious Singing From Ailyn Pérez & Ben Bernheim

Washington National Opera 2017-18 Review – Don Carlo: Great Voices & A Brilliant, Fatalist Production Make Verdi Masterwork More Relevant Than Ever

Vienna State Opera 2017-18 Review – Ariodante: Sir David McVicar’s sumptuous staging for the Wiener Staatsoper Is a Case of Handel With Care

Metropolitan Opera 2017-18 Review – Elektra: Yannick Nézet-Séguin Steals The Show In Strauss’ Most Violent Work

Theater an der Wien 2017-18 Review – Saul: Claus Guth’s Interpretation Is More Pasolini Than Prophet

Lyric Opera of Chicago 2017-18 Review – Così Fan Tutte: Crebassa and Martinez shine in Mozart’s Infidelity Comedy

Teatro la Fenice 2017-18 Review – Zenobia: Embracing the Past & Future To Create Compelling Performance in the Present

Metropolitan Opera 2017-18 Review – Madama Butterfly: Ermonela Jaho Triumphs In Tragic Portrayal Of Puccini’s Heroine

Editorial: Searching For A Greater Meaning in Lawrence Brownlee’s “Cycles of My Being”