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Francesca Zambello, who has overseen a dozen editions of the opera festival in upstate New York, will depart next summer.
“Sun & Sea (Marina),” an operatic installation that won the top prize at the Venice Biennale, is being staged at the Brooklyn Academy of Music.
This summer, three European productions, previously available to American audiences only online, were at last accessible in person.
“What Happened?: The Michaels Abroad” is the 12th and final installment in the quiet yet sweeping “Rhinebeck Panorama.”
Barrie Kosky’s new production for the Berliner Ensemble, at the theater where the famous work premiered, knows where to break the rules.
Luigi Nono’s furiously political and prophetic “Intolleranza 1960” arrives at the Salzburg Festival.
Adam Guettel’s genre-clashing song cycle has taken on many forms. The latest: a starry online mini-series.
Weill’s early, Weimar-era works reveal the qualities that found a natural home in his golden age American musicals.
The production, which examines the work’s colonial legacy, opened after the far right accused the Paris Opera of “antiracism gone mad.”
“Shipwreck,” a fantasia about white liberals and the president’s infamous dinner with James Comey, has been adapted into an audio play.
Uncertainty about the coronavirus and the challenge of protecting audiences and artists is prompting many prominent presenters to wait till next year.
Matthew Aucoin and Sarah Ruhl have adapted “Eurydice,” her play about the Orpheus story, for Los Angeles Opera. Next stop: New York.
Love it or hate it, Andrew Lloyd Webber’s musical is one of the most popular of all time. Before the new movie adaptation comes out, catch up on its four-decade history.
A roundup of events in every borough, from the Radio City Christmas Spectacular in Manhattan to the annual Holiday Train Show in the Bronx.
Among the highlights are a commission for Bill T. Jones, a staging of Monteverdi by Pierre Audi, and Alex Lawther in “Hamlet.”
The French wunderkind’s books have quickly become magnets for the stage. Adaptations of “History of Violence” and “The End of Eddy” will play New York simultaneously.
The professional and personal have blurred for young cast members of Matthew Lopez’s play, which offers a communion with victims of the AIDS crisis.
Built nearly 150 years ago, the over-the-top Palais Garnier has become part of the identity of Paris.
New York City Center has unveiled its 2019-20 season. Here are the highlights.
David Binder, for his first festival as artistic director, has assembled a roster of Brooklyn Academy of Music newcomers.
Why they act. What they’ve learned. And what they’ll remember.
We spoke with five actors to see how they were feeling after hearing about their Tony Award nods.
We offer a guide to navigating the new arts center set amid the towers of Hudson Yards.
Without missing a beat, the 26-year-old actor is moving from one Broadway show to another — and leaving behind a role he has owned since 2013.
The director Romeo Castellucci explains some of the striking imagery in his staging of Scarlatti’s “Il Primo Omicidio.”
The immersive experience, with its frequent problems yet mounting mystique, is beginning to court comparisons with the Fyre Festival.
On Friday, as the beloved store’s shelves approached emptiness before it relocates, it brought in the playwrights Annie Baker and Amy Herzog for a reading.
For its first season, beginning in April, the Shed has commissioned more than a dozen exhibitions, performances and lectures across disciplines.
The Rockettes at Radio City Music Hall, a site-specific “Christmas Carol” and more concerts, plays and events this holiday season.
The venue has announced its 2019 season, which will include a new play by Christopher Shinn, art by Hito Steyerl and concerts by Barbara Hannigan.
New York City Center’s gala production of the musical is being staged by Bob Avian and Baayork Lee, who have been with the show since its inception.