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?

Jonathan Miller’s L’Elisir d’Amore ain’t for squares, baby.

Amid a circus of hype, Peter Gelb’s Met makes its debut on the wings of a cold, stiff Butterfly.

City Opera’s Semele takes a satirical brush to less-than-savory methods of political advancement.

At Glimmerglass, The Greater Good is lively and complex; Jonathan Miller's Jenufa is almost too dark and severe for its own good.

Mostly Mozart looks healthy again at 40—and Peter Sellars's outré Zaide is exactly the kind of therapy it needed.

Grendel’s visual pleasures can’t overcome a blah score that’s all pastiche.