The composer’s electronic manifesto returns.
The $500 million–plus plan to squeeze a new building into the shell would have been a disaster.
Crossing, My Lai, and Blank Out all work the dynamic edge of what an opera can be.
Lots of murk and bark.
Jaap van Zweden brings the excitement, over and over and over.
At Mostly Mozart, an opera that doesn’t skimp on theatrical power.
The fantasies of visionary filmmakers can be astonishingly earthbound.
A violist with a mission.
The controversy surrounding the Public Theater’s production of Julius Caesar shows that expecting funding without constraints is naïve.
As the conductor leaves his post after eight years.
In the crypt, architectural and musical pleasure converge.
He doesn’t want to review a fancy place in Mexico — fine. But there’s more to criticism than giving advice.
As the seasons end, taking stock of two institutions with narrowing paths to the future.
Fresh (and diverse) composer blood is reviving a hoary form.
The singer’s new album, Freedom Highway, is just out.
Fiery music and song.
Our classical-music critic on a show he didn’t expect to love.
The first opera by a woman to be staged at the Met since 1903.
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