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Deborah Voigt returns, slimmer and in fine voice, in Tannhäuser—but an overdue Met debut is the real news.

The Met’s revival of Verdi’s I Vespri Siciliani is a true period piece.

City Opera brings in the Broadway talent for Rodgers and Hammerstein’s Cinderella.

This behemoth strikes me as Mahler’s most ungainly and least persuasive symphonic work.

Charles Wuorinen’s Haroun and the Sea of Stories is a modernist twelve-tone opera that’s easy to love.

A pair of Carnegie Hall vocal recitals—one wintry, one warmer—show off new talent.

James Levine is the hardest-working maestro in show business. But can he ever learn to let loose?

Chagall and Hockney have already had their way with Mozart’s Magic Flute. Now—cue the kite puppets —it’s Julie Taymor’s turn.

Mark Morris and Isaac Mizrahi serve up a highly Baroque take on Rameau’s froggy satire Platée; Emily Dickinson at the Philharmonic.

Ben Heppner rises brilliantly to Verdi’s musical challenge as Otello—but could improve his jealous rage. Plus: The risk-averse Philharmonic.