@ajgoldmann

52 Places to Go in 2026: Genoa, Italy - The New York Times

52 Places to Go in 2026: Warsaw - The New York Times

In Cover-Up, Laura Poitras Investigates Seymour Hersh - Columbia Journalism Review

Purity Tests, Art's Hemlock

‘Leonora Carrington’ Review: An Exhibit of Imagination in Milan

Maxime Pascal to Conduct Stockhausen’s ‘Montag aus Licht’ in Paris - The New York Times

The Grand Egyptian Museum’s Astonishing Arrival

La Scala Stages New Vision of Shostakovich’s Original ‘Lady MacBeth’ - The New York Times

Romeo Castellucci Takes on Debussy for His La Scala Debut - The New York Times

A Paris Exhibition Shows Wassily Kandinsky’s Music of Colors - The New York Times

Can Germany restore Jewish life in the synagogues it renovates? – The Forward

How a complete unknown created the 1970's most iconic concert – The Forward

“Better late than never,” by A. J. Goldmann

In Salzburg, the End of the World x 2

Cezanne au Jas de Bouffan Review

Crowns Slip in Two New Salzburg Productions

7 of Europe’s Most Delectable Fall Harvest Festivals - The New York Times

Matisse and Marguerite Review

At the Venice Film Festival, Celebrating a Different Kind of Filmmaking - The New York Times

‘When I fled Russia, I knew it was one-way’ — director Kirill Serebrennikov on exile, uncertainty and Josef Mengele

The Aix factor - Parterre Box

‘Don Giovanni’ Is One of the Greatest Works Ever Written. Why Is It So Hard for Directors to Get Right? - OperaWire

Q & A: Serge Dorny, the Bayerische Staatsoper’s Intendant, on the 150th Munich Opera Festival - OperaWire

The Architecture of Bodies: An Interview with director Ted Huffman

At Salzburg, a Modern Opera About Timeless Dreams and Realities

Strauss in the Shadows: Germany Spearheads a Revival of the Composer’s Lesser-Known Operas - OperaWire

A ‘Nurse Action Movie’ Might Be Different, but That’s the Point

Opera Companies Find Savings and Gains Through Collaborations

When Watching These Films at Cannes, Feel Free to Put Your Feet in the Sand

Rings Under the Eyes

During the Venice Biennale, You Can Buy Coffee Made With the Lagoon - The New York Times

More Than Caviar and Nostalgia

Stream the Most Important New Opera of the Year for Free [Editorial] - OperaWire

‘St. John Passion’: Bach’s Strange, Sublime Oratorio

A Danish Museum Examines Our Fascination With the Ocean

‘El Greco. Santo Domingo el Antiguo’ Review: Awe-Inspiring Altarpieces

‘Caravaggio 2025’ Review: A Baroque Master’s Dark Depths

Komische Oper Berlin 2024-25 Review: Akhnaten - OperaWire

Review: ‘A New Look At Cimabue”

Human Tension

Vast Underground Spaces and a Hidden History Lie Beneath Maastricht

How an intimate and sensitive film about a hostage family's grief triumphed in Berlin

At the BAFTAs, Fans Have a Say Who Wins This Award

On the Courage of Nan Goldin and the Truth About Germany’s “Never Again Is Now” Resolution

Otto Schenk, Opera Director and Bulwark of Tradition, Dies at 94

In Vienna, Museum Shows to See This Winter

36 Hours in Innsbruck, Austria: Things to Do and See

Notre-Dame Cathedral’s Brilliant Rebirth

When Coming to America, European Directors Sometimes Get Lost in Translation

The Apollo Belvedere: New Life for a Marble God

Dancing Bach’s ‘St. John Passion’

The Festival d’Automne Turns All of Paris Into a Stage

Review: An Ambitious Work, as Flimsy as a House of Cards

Tate Modern Gives a Fuller View of the Blue Rider

At a French Chateau, a Feast of Music and Nature

How the Venice Film Festival Became an ‘Oscar Launchpad’

36 Hours in Salzburg, Austria

A Salzburg Festival Tradition Deserves a Wider Audience

At the Salzburg Festival, Revivals Take Center Stage

Hitler's Mountain of Art

This Director Has Been Busy Since He Was 25

‘Chaïm Soutine. Against the Current’ Review: An Expressionist in Full

Choreographer’s ‘Dog Poop Attack’ on a Critic Inspired This New Play

The Un Certain Regard Section Offers a Different Perspective at the Cannes Film Festival

In This ‘Lord of the Rings’ Adaptation, the Hobbits Yodel

‘Ash’ Review: A Nobel Prize-Winner Confronts Environmental Collapse

36 Hours in Munich

‘Brancusi’ Review: A Singular Sculptor at the Centre Pompidou

Peter Eotvos, Evocative Modernist Composer and Conductor, Dies at 80

Aribert Reimann, Masterful German Opera Composer, Is Dead at 88

An American Tenor, a Puccini Specialist, Arrives at the Met

At the Venice Biennale, the German Pavilion Undergoes a Transformation

René Pollesch, Provocative Force in German Theater, Dies at 61

‘The Lost Mirror: Jews and Conversos in the Middle Ages’ Review: Spain’s Antisemitic Artistic History

Bringing New Life to Some of the World’s Most Extraordinary Artworks

‘Poor Things,’ the Weird Movie, Was a Weird Novel First

How the Choreographer for ‘Poor Things’ Uses Dance to Tell the Story

Opera and Classical Music to Experience in Europe This Winter

Berlin’s Subway Musical Captures the Soul of the City

Review: ‘Chicago,’ With Nary a Finger Snap

In Germany, ‘Hamilton’ Hangs Up Its Musket

Well-Made, and Massively Weird: A New Theater Season in Berlin

2023-10 A Sense of Tradition | Opera News

2023-10 Salzburg Festival | Opera News

Has Woody Allen ever told you how lucky he is?

In Germany’s Rust Belt, Industrial Ruins Become Stages

Review: In ‘Amour,’ Putting a Palme d’Or Winner Onstage

A Musical Family Adds to This Baritone’s Performance

2023-08 Modern & Present | Opera News

Christian Petzold May Be the Best German Filmmaker You’ve Never Heard Of

2023-07 Die Frau ohne Schatten at the Easter Festival Baden-Baden | Opera News

2023-07 Tannhauser at the Salzburg Easter Festival | Opera News

Ruben Ostlund Doesn’t Want You to Get Too Comfortable

‘Charmion von Wiegand’ Review: American Artist, Swiss Exhibit

‘The Inheritance’ Arrives at a Festival of German Drama

Review: A Star Director Takes a Back Seat in ‘The Seagull’

Opinion | Living up to Isherwood (Published 2007)