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.

And that’s a good thing. Audra McDonald is that rare singer who succeeds in both opera and pop.

Now that she looks the part, the soprano sounds troublingly tentative and colorless in Tosca.

The Met’s least-inventive director turns in a bizarre swan song. But the stars of his Don Pasquale sound (and look) great.

Adamo’s new opera of Lysistrata is as timely as can be, despite a few too many camp touches.