Opera

Though there were stretches of sublime, finely-honed comedy, the effect was all too much happening at once. By SUSAN GALBRAITH

The tear-jerking plot, gripping score, and heartfelt singing combined to produce a powerful evening of opera. By WILLIAM POWELL

A kooky cast of characters and ridiculous comedy make up Washington National Opera's fun night in a 1920s New Orleans speakeasy. By KJ MORAN VELZ

The nuanced and powerful work tells neglected stories of enslaved people's escape to freedom. By SUSAN GALBRAITH

Nanna Ingvarsson's acting is magnetic, and the intimate experience allows us to appreciate the sheer beauty of the human voice. By SOPHIA HOWES

The fun, humorous classic delighted longtime opera fans and newbies alike. By DARBY DeJARNETTE

Renowned composer Jeanine Tesori’s latest work is a Washington National Opera co-pro with the Met, where it will open the season next year. By SUSAN GALBRAITH

The uniformly excellent voices ring out powerfully in the Gaithersburg Arts Barn. By JENNIFER GEORGIA

The performance at CulturalDC's Source Theatre is stunning sonically and choreographically — haunting in its grace, alarming in its force and power. By JOHN STOLTENBERG

If you’re an opera novice or even an opera hater, this production is well worth your time.

Called a 'congregational opera' by its creators, Toshi Reagon and Bernice Johnson Reagon, the performance offers up a benediction of hope and faith.

Washington National Opera's visually poignant new production features a profoundly talented cast.

The latest work by Arnold Saltzman has the potential to be one of the great new operas of the 21st century.

This rarely performed work, with music by John Adams and text by June Jordan, is an experience not to be missed.

The 1995 'songplay' by John Adams and June Jordan created a new genre of musical theater and boldly confronted systemic issues of the 1990s.

The multi-genre countertenor stars in Annapolis Opera’s 'Voices of Our Time' concert on April 15.

The Rome School of Music, Drama, and Art stages the 1738 opera by George Frideric Handel in Las Vegas — and Elvis makes an appearance.

The production of Mozart’s classic gives much to enjoy for opera aficionados and novices alike.

The magnificently melancholy season finale features an epic, insightful performance of Violetta by Brandie Inez Sutton.

The thrilling new opera defies the idea that there should be no space for global-majority folks to control the telling of their own stories.