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Surprisingly and delightfully funny, Kelsey Mesa’s gripping new play tells the true story of teenage sisters who killed Nazis in World War II. By JOHN STOLTENBERG
A sunshine-filled reinvention of Molière’s classic, full of energy and farcical humour, but with a surprisingly complex seam that adds rich depth. The post Review: Tartuffe (Remixe...
A charming folk-musical adaptation of Büchner’s unfinished masterpiece, Woyzeck. Brilliantly performed along with a captivating score, but somewhat at odds with its source material...
In eclectic productions of Carmen, Ariadne auf Naxos, and Così fan tutte in Salzburg, A.J. Goldmann finds vindication for Markus Hinterhaüser at the end of the intendant's final Fe...
Amartuvshin Enkhbat is superb in Verdi's Simon Boccanegra in San Francisco — even if the drama offstage is more persuasive than this new production.
In its third revival, Lyric Opera of Chicago's production of Don Giovanni nails its predatory Don — but falls short dramatically with its donne.
Les Abstraits Philosopher's Walks is an elegant, bracing fougere fragrance that’s modernized with exceptional citruses, floral, and cedar The post Les Abstraits Philosopher’s Walk...
There may be frozen giant erections and psychedelic projections galore — but there's also a surprising degree of emotion in Kirill Serebrennikov's latest theatrical experiment in B...
Mitridate, re di Ponto at the Teatro di San Carlo showcases some energetic performances — and some unfortunate stage busyness.
Melvil Poupaud stars in the fourth feature by critic turned director Nicolas Pariser, who based some of the movie on his own past as a journalist.
Vulnerability, on record, usually arrives pre-packaged: a stripped-back arrangement, a whispered vocal, the implicit stage direction reading *sincerity now*. Freidrich$ has spent a...
Yannick Nézet-Séguin opens Philadelphia's symphonic season in typically sunny style with programs feautring Beethoven, Brahms, and Bernstein.
Brian Cox brings wit and strength to J.S. Bach in The Score, Shakespeare Theatre’s spirited clash between art and power. The post The Score Review: Brian Cox Is a Commanding Bach a...
Christian Montgomery’s electrifying Frank-N-Furter powers a fun, frisky, and immersive production at Dance Place. The post Rocky Horror Show Review: Monumental’s Horny, High-Energy...
Monteverdi's L'Orfeo by Haymarket Opera and The Newberry Consort takes its audience to heaven while its title character goes to hell.
The Royal Opera House's Don Giovanni comes without an instruction manual — but features a fine lothario in Gordon Bintner.
From our distinguished critic in residence, Alastair Macaulay:... The post Alastair Macaulay reviews 9 shows in 7 nights appeared first on Slippedisc.
Royal Albert Hall, LondonPeriod instrument grain and an energised Jakob Lehmann did a fair job with Berlioz’s concert setting of the drama, but the hall’s murky acoustic buried som...
With ambition to spare, Boston Lyric Opera's William Tell shows that the state of American opera need not be depressing.
Bridgewater Hall, ManchesterOpera Rara revive the 1860 work in which a dog is appointed Sultan. A fine cast, the Hallé and ENO chorus, and impeccable rhyming narration from Alistai...
When Frederique Constant introduced the Highlife collection in 1999, it established a distinctive case architecture defined by an integrated strap attachment and hornless geometry....
Opera Philadelphia's production of Mitridate, re di Ponto proves more puerile than perhaps its 14 year-old composer intended.
A double bill of two short operas, The Human Voice / The Seven Deadly Sins is a lovely pairing dominated by a great leading vocal performance. The post Review: The Human Voice / Th...
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