Features

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Countertenor Jakub Józef Orliński makes his Met debut next month in the company premiere of Eurydice.
By Maria Mazzaro
Photographs by Rafał Masłow

Ed Sullivan’s Really Big Show

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TV host Ed Sullivan made opera stars part of the mix on his popular variety show.
By Fred Cohn

Finding Links

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Designer Jean Kalman invents space with light.
By Charles Shafaieh

True to Form

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Gustav Mahler didn’t write an opera, but his songs are operatic in every element.
By William R. Braun

Innovation by Necessity

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Wexford’s Rosetta Cucchi loves a challenge.
By George Hall

Dancing on Her Own

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Janet Collins was the first Black ballerina under contract at the Met.
By Gwyneth Muller

Always Learning

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Conductor Kelly Kuo is building a multifaceted career.
By Joanne Sydney Lessner

Music of Hope

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Death of Classical presents innovative concerts in unexpected places.
By Henry Stewart

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In Review

In Only An Octave Apart, a showcase for Anthony Roth Costanzo and Justin Vivian Bond at St. Ann’s Warehouse, the two charismatic performers provide one another with plenty of contrast while proving they also make for a natural pairing.

In Review

The Opéra Comique's intimate Salle Favart was an ideal venue to present an authentic, period-instrument version of Beethoven's Fidelio, with its mix of dialogue and music. Director Cyril Teste's production, set in a contemporary high security detention center, hardly matched the musical authenticity.

In Review

Matthew Ozawa’s Fidelio staging at San Francisco Opera, set in a modern prison, makes wrenchingly clear the work's themes of tyranny, unjust detainment and liberation through lively details and the work of an exceptional cast that included Elza van den Heever and Russell Thomas.