Richard Sasanow is the Editor in Chief at Opera. He specializes in arts and entertainment, with a particular focus on theater reviews, often highlighting performances in Georgia, Atlanta, and Spain, particularly Barcelona. Richard's insights and critiques have been featured in BroadwayWorld.com.
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Richard Sasanow's coverage is primarily focused on providing reviews of opera performances and related events, with a strong emphasis on the Metropolitan Opera. He appears to have a keen interest in classical music, specifically within the context of live performances.
If you're looking to reach out to Richard, consider offering access to exclusive previews or insights into upcoming opera performances at the Metropolitan Opera or other renowned venues. Additionally, if you represent an artist or production company involved in classical music and performance arts, highlighting their unique approach or new works could be of interest to him.
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By: Richard Sasanow
“A spoonful of sugar helps the medicine go down,” according to Disney's “Mary Poppins.” The same thing seems to go for politics and the arts, if
By: Richard Sasanow
There was a buzz in the lobby of the opera house and scalpers galore outside the doors to the ticket office for soprano Asmik Grigorian's recent sell-out concert at the Vienna State Opera.
By: Richard Sasanow
If you want to see an opera based on Shakespeare's “Romeo & Juliet,” head for Gounod's version of the piece. with its famous waltz and series of duets.
By: Richard Sasanow
A match made in heaven? Girl meets boy. Girl meets baby. Girl meets drone. Girl meets court-martial.
By: Richard Sasanow
Last Friday night at Lincoln Center's Vivian Beaumont Theatre, I saw a preview of its latest production, MCNEAL, directed by Bartlett Sher, which moved like the wind and was fun to watch and hear.
By: Richard Sasanow
It's fascinating that within two weeks, as the new US opera season began in earnest, Northeast operagoers heard a pair of new (or new-ish) operas
By: Richard Sasanow
As usual, the gala concert of the Richard Tucker Music Foundation started off with an interloper from the golden age of opera: Richard Tucker himself, singing Mascagni’s “Addio alla Madre” from CAVALLERIA RUSTICANA. A tough act to follow for those singing live at Carnegie Hall, but happily no one seemed daunted by it. That doesn’t mean everything went smoothly at the gala concert, which is par for the course of the annual event. Despite the prestige of the Richard Tucker Awards, the world doesn’t stop when the Tucker Foundation comes a calling.
By: Richard Sasanow
Richard Strauss’s DIE FRAU OHNE SCHATTEN (THE WOMAN WITHOUT A SHADOW), with a libretto by his long-time collaborator, Hugo von Hofmannsthal, has made a triumphant return to the Met with a stellar cast and the Met Orchestra in peak form under Yannick Nezet-Seguin. It dazzled and glowed like few other evenings in recent memory, in a production by Herbert Wernicke, who died young, not long after its debut in 2001.
By: Richard Sasanow
Someone at the Met should have been giving out flu shots (before RFK Junior makes them illegal), because something is obviously going around the cast of the new AIDA.
By: Richard Sasanow
The New York premiere of the Christopher Cerrone/Stephanie Fleischmann opera IN A GROVE, in Mary Birnbaum's simply beautiful—or beautifully
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