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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.

Pleasure came from far-flung corners: Kings of the Dance outran its cheesiness, a movie recalled the odd genius of Glenn Gould, and London darling Angela Gheorghiu finally won over New York.

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

Hours of Gould on film are readily available for home viewing, from the many television programs made by the CBC featuring the pianist performing and analyzing core items from his repertory to a variety of documentaries on his life and career.

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.