When it comes to a work that is more than 200 years old, it’s hard to imagine there’s any surprises left. But if you happen to find yourself with a ticket to the Seattle Opera performance of Mozart’s ...

Ordinarily, as a critic, I would not interview an opera director. I like my reviews to be based on the same visual, aural and written information that every audience member has access to.

Editor’s Note: This article was photographed for Mosaic, an independent journalism training program for high school students who report and photograph stories under the guidance of professional ...

Performances in N.Y.C. Advertisement Supported by Critic’s Notebook The Cleveland Orchestra’s staging of Mozart’s “The Magic Flute” was a reminder that ensembles can help fill the gap as opera grows ...

CLEVELAND, Ohio – The first time Austrian theater and opera director Nikolaus Habjan heard “The Magic Flute,” at age 4, he was smitten, transfixed. He was a busy, restless child, but when he ...

Performances in N.Y.C. Julie Taymor’s abridged production of Mozart’s opera has been trimmed down to 90 minutes as the Metropolitan Opera bids to recruit a new generation. Credit... Supported by By ...

“The Magic Flute” has enchanted audiences ever since it opened in 1791, just months before Mozart’s untimely death. On the surface, “Flute” is a fairy tale about a prince who sets out to rescue a ...

A remarkable synergy of musical and visual storytelling enlivens Seattle Opera’s current production of “The Magic Flute,” running through March 9. Initially created in 2012 by Australian director ...