The Met’s Crowd-Pleasing ‘Andrea Chénier’ Is Marred By Miscast Lovers The opera house's current revival, its first in nearly a dozen years, features an attractive, HD-ready cast that only sporadically rises to the occasion. By Christopher Corwin
In the Met’s Many Revivals, Sometimes Second Casts Finish First In many cases, the second, third and even fourth casts surpassed the season premieres that tend to attract the most attention. By Christopher Corwin
Michael Mayer’s Faux-Archaeologists Can’t Rescue His Entombed ‘Aida’ at the Met Mayer’s weak attempt to address opera’s recent struggles with its history of fetishization of “exotic” cultures adds nothing to the production. By Christopher Corwin
Review: Nadine Sierra Is a Force of Nature as Violetta in ‘La Traviata’ at the Met Opera By Gabrielle Ferrari
Nico Muhly Finds a Compelling Muse in the Met Opera’s ‘Marnie,’ but His Score Can’t Match Her Drama By James Jorden
From ‘Marnie’ at the Met to James Whiteside’s Surrealist Leaps, the Must-See Opera and Dance of Fall 2018 By Michael Martin
Forbidden Freedom: <em>Out In the Dark</em> Is a Wrenching Tale of Love in the Middle East By Rex Reed