Newstral
Article
The New York Times on 2019-03-20 18:38
Critic’s Notebook: The Father-Daughter Bond at the Heart of Opera’s Greatest Epic
Related news
- How Music Tells the Story in Opera’s Greatest Epic. (Headphones On.)The New York Times
- Critic’s Notebook: A Critic’s First Orchestra Defines Britain’s Musical SoulThe New York Times
- Critic’s Notebook: Jerome Robbins, the ExperimentalistThe New York Times
- Critic’s Notebook: Why David Chang MattersThe New York Times
- Critic’s Notebook: Our Never-Ending ‘Scam Season’The New York Times
- Critic’s Notebook: Fool Me Twice? Yes, PleaseThe New York Times
- Critic’s Pick: Review: Met Opera’s ‘Adriana Lecouvreur’ Bristles With Passion and DangerThe New York Times
- Critic’s Notebook: A Critic’s Favorite Space for Music in New York Turns 40The New York Times
- Critic’s Notebook: Instrumental Armies Do Battle at Amsterdam’s OperaThe New York Times
- Critic’s Notebook: High School Musicians Take on the (Almost) UnplayableThe New York Times
- Critic’s Notebook: At 100, Thelonious Monk Gets a Hero’s CelebrationThe New York Times
- CRITIC’s NOTEBOOK: J.M. Coetzee’s Boyhood, in Black and WhiteThe New York Times
- Critic’s Notebook: A Quirky Violinist and a Festival to MatchThe New York Times
- Critic’s Notebook: ‘Aging Pride’ Challenges the Cult of YouthThe New York Times
- Critic’s Notebook: Indian Dance: Motion in Stillness, Stillness in MotionThe New York Times
- Critic’s Notebook: After 350 Years, Paris Still Defines OperaThe New York Times
- Critic’s notebook: Brunello Cucinelli, Prince of All He SurveysThe New York Times
- Critic’s Notebook: Pop in the Era of DistractionThe New York Times
- Critic’s Notebook: The Broadway Musical Has a Man ProblemThe New York Times
- Critic’s Notebook: Trifonov and Andsnes: Different Generations, Same CuriosityThe New York Times