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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.

Well, not quite. But Angela Gheorghiu and Jonas Kaufmann do as much for the eyes as for the ears.

How is Simon Rattle making the Berlin Philharmonic post his own? A New York visit offers a snapshot.

Does anyone do this specialized repertory better than the New York Gilbert & Sullivan Players?