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Opera Philadelphia

two performers in mid-action, with a woman in a yellow dress holding a dagger and a man restraining her from behind, set against a backdrop resembling Keith Haring–style black-and-white figures.

Review: Opera Philadelphia’s Snappy Rare Rossini Without Stars and the Met’s Dour New ‘La Sonnambula’

While both companies tapped directors who chose unconventional approaches to this repertoire, they followed very different paths when casting their singers.
By Christopher Corwin
A group of four actors in 18th-century period costumes sit in a parlor-like setting with an ornate purple backdrop, where one man in a burgundy coat gestures expressively while the others, including a woman in a yellow dress, a man in gold, and a woman in red, react with amusement and curiosity.

Joseph Bologne’s ‘The Anonymous Lover’ Is Surprisingly Unfunny in Philadelphia

There's plenty here for the historically curious but not quite enough to make for a compelling comedic performance.
By Gabrielle Ferrari
Performers act on a stage in front of a giant screen projecting the faces of a man and a woman

‘The Listeners’ Offers a Chilling Take On Disillusionment and American Despair

Even when you know where this story is going, the opera drags you into its undertow.
By Gabrielle Ferrari
Four individual portraits of individuals (two women and two men)

Art World Comings and Goings: Brooke Lampley Leaves Sotheby’s for Gagosian and More

By Alexandra Tremayne-Pengelly

Intelligent and Moving, ’10 Days in a Madhouse’ Exemplifies the Power of Opera

By Gabrielle Ferrari
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