Paul Jacobs can shake the rafters—and your soul.

The New York Philharmonic is as reliable and consistent as a metronome—and about as dull.

Natalie Dessay is a fabulous, if not exactly subtle, Lucia.

Margaret Garner, the opera by Richard Danielpour and Toni Morrison, fails its powerful material.

Bill Viola’s much-anticipated reinterpretation of Tristan und Isolde’s sexual angst is oddly neuter.

George Bernard Shaw thought little of Gilbert and Sullivan. Would an evening at Lincoln Center have changed his mind?

Never mind the high-definition hype: The Met’s Eugene Onegin is beautiful (if still austere) on the big screen.

Tan Dun’s shtick—using Chinese musical gestures in Western opera—leaves both genres worse for wear.

Yes, the Met is overhyping its new Il Barbiere di Siviglia. But the production has energy to spare—so who’s arguing?

They don’t make them like they used to. Can Renée Fleming and Audra McDonald save this endangered species?