“‘AIDA’ is not opera. It’s truly a pop musical with spoken dialogue and all kinds of recognizable song types: urban-based rhythm and blues, gospel inspired songs, ballads and, of course, Crocodile ...

For the first time in more than a decade, Verdi’s romantic and political drama Aida returns to Lyric Opera of Chicago, March 9 to April 7, 2024. See photos from the production below. Music Director ...

When Asa Irwin was growing up in Seattle, she knew talented black singers who performed in churches and sang in competitions. But “you never actually saw people of color performing in the major venues ...

Late in the afternoon on Nov. 10, lights began to dim as a packed audience eagerly waited at the Emerson Colonial Theatre. The Boston Lyric Opera’s staging of the classic opera “Aida,” with music by ...

Performances in N.Y.C. Advertisement Supported by Michael Mayer is directing the Met’s first new production of Verdi’s classic in nearly four decades, aiming for something fresh yet enduring. By ...

A blazing Act 2 finale brings down the house, in the Festival Opera production of "Aida" that opened Saturday at the Dean Lesher Regional Center for the Arts in Walnut Creek. But then this sustained ...

“Aida” may well be the grandest of the grand operas, but it needs inspired staging and exceptional voices in order to make Verdi’s masterpiece shine. Seattle Opera’s current “Aida” does just that.

There are two things to be said about this production of Aida, a rock-pop version of the Verdi opera with music by Elton John and lyrics by Tim Rice. The first is that it’s a shlocky, sentimental ...

Terrance McKnight: This is Every Voice with Terrance McKnight. It’s still a new podcast from WQXR, we’ve done ten episodes where we interrogate the culture of our classical music scene and we look at ...

Read full article: Danville leaders exploring data centers being built within city limits Construction is underway at City Stadium in Lynchburg, where a $5.25 million renovation project aims to add ...

Performances in N.Y.C. Advertisement Supported by But opening night of the huge production’s final run, shakily cast, presented a show that seemed to be begging to retire. By Zachary Woolfe “I’m not ...