Rodgers and Hart’s 1938 dance musical proves impossible to resuscitate.
Scott Ellis’s busy production puts Porter’s sublime musical between a rock and a hard place.
In their best moments, the mezzo and pianist Ted Sperling were near-ideal Bernstein-isti.
What R. B. Schlather’s visually arresting production has to do with the opera remains a mystery.
Fine voices and musical values here far outshine a cliché-ridden production.
Lerner and Loewe’s “lost” musical is a wonderful oddity that should be better known.
Robert Carsen’s 28-year-old production comes to America. It was worth the wait.
Seen here, an old fashioned but endearing musical becomes a Trumpian fantasia.
AVA’s Rusalka—a rare venture into the Slavic repertoire—left a divided impression.
Together, Bernstein’s Kaddish and Rossini’s Stabat Mater made for one of Philadelphia Orchestra’s finest concerts in recent memory.