Jamie Barton has one of the great voices in the world today, sumptuous, flexible, and capable of light and shade, her sizeable mezzo pours forth seamlessly. Her tremendous operatic potential has already found a firm footing. She has sung Adalgisa and Giovanna, Fricka and Jezibaba—all to acclaim. In a recent Opera News feature, she said that Eboli and Azucena are on the way (though not Amneris) and that she feels entirely at home singing Wagner. Read more »
With a cast of stellar singers and maladroit direction by Mary Zimmerman, Dvorák’s Rusalka debuts in a new production at the Metropolitan Opera. The libretto, by Jaroslav Kvapil (based upon the fairy tale Undine by Friedrich de la Motte Fouqué) is probably most recognizable as an iteration of The Little Mermaid, a folktale made famous by Hans Christian Andersen in the 19th century, and the wonderful world of Disney in the 20th. Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
Mezzo-soprano Jamie Barton has been named the winner of the 12th annual Beverly Sills Artist Award for young singers at the Metropolitan Opera.
Remember that time you went to the opera and the entire evening was perfection?
The annual Richard Tucker Gala is probably the event of the year to indulge your love of verismo staples and can belto screaming.
“This throwback to the golden age of opera—superhuman singing greeted with frenzied ovations—was a function of a perfect storm of excitement.”
The Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.
Mezzo-of-the-moment Jamie Barton’s future Met assignments include . . .