French revolution
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
A first-time operagoer is lured to Thaïs at Opera Idaho by the promise of a new experience… and Neil, the Burmese python
Wolfgang Holzmair‘s performance was amazing in its personal and intimate approach.
William Parker‘s career launch coincided with the closet door fully opening for American male classical vocalists; the cruel irony is that Will was also an early AIDS casualty, gone in 1993 at 49.
Led by Yannick Nézet-Séguin and Yoann Combémorel, the Curtis Symphony Orchestra proves themselves the equal of any major American orchestra in a program of Mahler, Wagner, and Dawson.
This song has always been one of my favorites.
The song recitals I remember most vividly were, unsurprisingly, the most vivid ones.
Parterre Box acknowledges Riccardo Muti‘s 600th performance with the Chicago Symphony Orchestra by highlighting two of his favorite singers — under a different conductor.
With Gustavo Dudamel in the spotlight at Parterre Box this week, Grand Tier Grab Bag foreshadows one of the New York Philharmonic’s upcoming operatic engagements.
Parterre Box answers the question, “how can a singer do both Tristan and Nemorino within a few month of each other?” with a clip of a recent role debut from Michael Spyres.
Parterre Box features a performance from two belcantisti who would rather you not think about their political affiliations.
Parterre Box previews an upcoming performance of Hercules with Ann Hallenberg in some very unique Baroque repertoire.
Following the announcement that she’ll make her Met debut next season, Grand Tier Grab Bag brings Italian soprano Erika Grimaldi to your attention with a duet from Manon Lescaut.
Parterre Box acknowledges Riccardo Muti‘s 600th performance with the Chicago Symphony Orchestra by highlighting two of his favorite singers — under a different conductor.
The staggeringly great Ukraine-born Jewish bass Mark Reizen sings “The Ebullient Kura Swirls” a/k/a “The Persian Love Song” by Moldova-born Jewish composer Anton Rubinstein.
Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa‘s bold production at the Lyric Opera of Chicago.
Parterre Box is announcing a formal partnership with Kalshi Inc.
Frida Leider is a major Wagnerian soprano who does not sound like a Wagnerian soprano.
It’s not where you start but where you Finnish
Wolfgang Holzmair‘s performance was amazing in its personal and intimate approach.
William Parker‘s career launch coincided with the closet door fully opening for American male classical vocalists; the cruel irony is that Will was also an early AIDS casualty, gone in 1993 at 49.
This song has always been one of my favorites.
The song recitals I remember most vividly were, unsurprisingly, the most vivid ones.
The staggeringly great Ukraine-born Jewish bass Mark Reizen sings “The Ebullient Kura Swirls” a/k/a “The Persian Love Song” by Moldova-born Jewish composer Anton Rubinstein.
Washington National Opera offered a searing production of Robert Ward’s opera The Crucible, directed by WNO Artistic Director Francesca Zambello, as the second installment in the company’s next chapter.
Pure class. Kurt Moll really knew his own voice inside out.
As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
Opera directors could learn a thing or two from Deaf Broadway’s vivacious performance of Jeanine Tesori‘s Violet.
The greatest bass performance I ever experienced was actually four – four performances in four roles.