Opera

Benjamin Britten’s opera is pleasant if mostly uninteresting, like its titular hero.

Emma O’Halloran’s techno-tinged music clothes the drama perfectly in tales of Dublin’s downtrodden.

Michel van der Aa’s elusive and subtle work is brilliantly realized at Cal Performances.

From audience behavior and revenue to questions of repertoire and representation, arts leaders have a lot on their plates currently.

Luxuriously cast, expertly directed, and conducted with fiery abandon by Richard Egarr, the show made the case for Handel’s fifth Italian opera.

The company’s first-ever commission will help to create roles for Black singers in the world of light opera.

The company’s Digital Shorts, still available for viewing, brought together major-name creatives to invent 10-minute operatic films.

As wonderfully as Giacomo Puccini’s opera has been served in the studio, this Warner Classics release is up there with the best.

With James Conlon conducting a sensitive account of the score, and a fine cast to boot, there is no mystery to the success of this production.

Allen Shearer and Claudia Stevens’s operatic take on The Tempest succeeds most in musical moments that depart entirely from the original.