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Richard Lynn provides a comprehensive introduction to the surprisingly wide and unsurprisingly wild world of opera podcasts.
Richard Lynn provides a comprehensive introduction to the surprisingly wide and unsurprisingly wild world of opera podcasts.
In Juneau, the world premiere of the Tlingit-language opera Ḵutulagaaw: The Tlingit-Russian Battles raises new questions about cultural ownership while singing a song all its own.
San Diego Opera’s Rigoletto, starring a persuasive Michael Chioldi, veers traditional—without the mothballs in tow.
Yes, you miss the champagne sparkle and lilt of the best French versions but look at what you gain by hearing these grizzly tales in ETA Hoffmann’s own language.
There are Bohèmes and Bohèmes, and it is almost a joke word these days, but the French show us how it is properly done.
This performance by Marilyn Horne has always stunned me and everyone I play it for.
Two Philadelphia institutions present delectable performances of sex and filth (of the best kind).
Some singers only need a few seconds to show what they are all about. Listen to Ursula Hesse von den Steinen in this stunning performance to see what I mean.
Marina Rebeka and Jonas Kaufmann are heading to New York for Tosca, so Parterre Box offers a sample of the two of them in a different Puccini opera.
At the Festival Verdi, the “mondi lontani” of Nabucco and Aida lead back to universal, Verdian virtues.
Maxim Kolomiiets‘s urgent The Mothers of Kherson premieres in Warsaw ahead of its Metropolitan Opera run.
One of my favorite mezzo performances is Tatiana Troyanos in Cavalleria rusticana.
Heartbeat Opera’s Queeney Todd draws together New York’s queer theater multiverse in a stunning drag production that breathes new life into the opera and leaves the audience in stitches.
One of the greatest to ever do it.
Parma’s annual Festival Verdi traversed “distant worlds” of crusades, conquests, and colonial struggles, stopping first in Peru for the seldom-heard Alzira.
Rhiannon Giddens and Michael Abels’s Omar fascinates and frustrates in equal measure in Chicago.
Oralia Dominguez: deranged, demented, an absolute triumph.
Seokyoung looks at how five different versions of “Un bel dì” support and subvert the stakes of Cio-Cio-San’s famous wait for Perspectives on an Aria.
Remember, kids: if you sing with a “splatty” chest you’ll lose access to your top, which is why Agnes Baltsa had such a short international career.
One of the few truly great mezzos I’ve heard in the 21st century here at the Metropolitan.
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