Purchase this and other timeless New Criterion essays in our hard-copy reprint series. Not so at the Teatro alla Scala in Milan, where the opera premiered in 1831. Prior to its welcome new production, ...

The next day’s email blast from the Times reported “Officials Recover Rifle and Seek Gunman ‘of College Age’ in Charlie Kirk ...

But on balance I think that the late Australian philosopher David Stove was right: the leading characteristic of the Left it ...

Wagner’s Ring of the Nibelung, a mythical tetralogy with an ambition to relate nothing less than the creation and destruction ...

Thomas Mann openly converted from a chauvinistic rejection of all politics in Reflections of a Nonpolitical Man (1918) to ...

Rusalka’s watery realm, accordingly, is a basement with leaky pipes, where she is kept with other creatures, perhaps her ...

On The First King of England: Æthelstan and the Birth of a Kingdom, by David Woodman.

On new productions of Richard Strauss’s Die Liebe der Danae and Fauré’s Pénélope, at the Bavarian State Opera.

The opera’s plot, which is based on the assassination in 1792 of King Gustav III of Sweden at, yes, a masked ball, proved almost comically problematic. Gustav, whose sexuality was and remains in some ...

On Miami City Ballet’s “Spring Mix” program.