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Polina Lyapustina in Opera Criticism in a Modern World

Noicattaro Lirica 2024 Review: Turandot

Grande Puccini in Piccolo Noicattaro

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Polina Lyapustina in Opera Criticism in a Modern World

Criticism on Fridays: The Slow Decay of Italian Opera

How One Old Decree Continues to Threaten Italian…

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Polina Lyapustina in Opera Criticism in a Modern World

Criticism on Fridays: Theatres vs. States

The European Opera Houses Give Ingenious Lessons on How to…

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Polina Lyapustina in Opera Criticism in a Modern World

18th-century opera in The Style Wes Anderson

Banchetto Musicale 2019 Review: Pimpinone

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Polina Lyapustina in Opera Criticism in a Modern World

Reimagining ‘Fedora’ for the Modern Reality

Teatro Grattacielo 2020 Review: Fedora

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Polina Lyapustina in Opera Criticism in a Modern World

Lithuanian National Opera’s New Normal Looks Somewhat Familiar

LNOBT Managers Speak About the New…

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Polina Lyapustina in Opera Criticism in a Modern World

Criticism on Fridays: Revising the Canon

Accepting the Changing Landscape of the Opera Industry

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Polina Lyapustina in Opera Criticism in a Modern World

Bayerische Staatsoper 2021 Review: Eight Songs for a Mad King

Holger Falk & the Orchestra Deliver A…

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Polina Lyapustina in Opera Criticism in a Modern World

Highlights and Missed Opportunities on One Italian Opera Stage

Teatro del Maggio Musicale Fiorentino 2020–21 Review: Adriana Lecouvreur

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Polina Lyapustina in Opera Criticism in a Modern World

Music Theatre of Lenny

How 25-year-old American jew changed the music world

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About
Opera Criticism in a Modern World
Opera Criticism in a Modern World
Editorial materials, reviews, interviews, and essays. My way to improve the opera industry. I’m Polina Lyapustina and I’m currently writing for operawire.com. No story is a part of Medium’s metered paywall.
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