Callum John Blackmore

Callum Blackmore is a writer and a researcher currently completing a PhD in historical musicology at Columbia University. Before moving to New York, Callum was awarded degrees from the University of Auckland and the University of Leeds, and has worked with opera companies in New Zealand and the United Kingdom. His research currently focuses on opera and politics in the wake of the French Revolution.


Is that how they do it? Is that how they do it?

Così fan tutte presents a considerable challenge to the modern director.

on November 17, 2019 at 12:07 PM
A place in the sun A place in the sun

Friday evening’s Met premiere of Akhnaten was a resounding triumph and an outstanding testament to Philip Glass’s enduring operatic vision.

on November 09, 2019 at 5:24 PM
Endlessly engrossing Endlessly engrossing

It seems a travesty that Philip Glass’s Akhnaten, one of the seminal works of the 20th by one of America’s most iconic composers, is only just receiving its Met premiere in 2019, some 35 years after its first performance!

on November 09, 2019 at 1:39 AM
We’ll always have Paris We’ll always have Paris

At Friday night’s performance of La Bohème at the Met, the cast seemed to lean into (and gamble upon) the production’s enduring popularity.

on October 26, 2019 at 12:19 PM
Over the garden wall Over the garden wall

Hannah Lash’s latest opera, which premiered at the Miller Theater on Wednesday night, was a musical and dramatic misfire.

on October 18, 2019 at 9:00 AM
Sleeper Sleeper

As the Netrebko-crowned Macbeth took to the stage at the Met, just a few blocks away, Teatro Grattacielo presented its 25th Anniversary Gala Concert.

on September 30, 2019 at 8:00 AM
When a man loves a woman When a man loves a woman

At the Met’s performance of Manon Tuesday evening, Michael Fabiano made as good a case as any for renaming the opera Chevalier des Grieux.

on September 25, 2019 at 1:51 AM
Defying gravitas Defying gravitas

Benjamin Yarmolinsky’s The Constitution: A Secular Oratorio, performed by Vertical Player Repertory on Thursday evening, was an awful lot of legal speak for one evening.

on June 28, 2019 at 2:56 PM
Toys in the attic Toys in the attic

One of the main problems with My Undying Love was that it did not appear to know what audience it was pitching to.

on June 23, 2019 at 8:45 AM
Pardon my dust Pardon my dust

David Lang’s Prisoner of the State, which was premiered on Thursday night by the New York Philharmonic, places the issue of mass incarceration front and center, foregrounding the violence of the prison system, both physical and psychological.

on June 08, 2019 at 9:00 AM
First Lady sings the blues First Lady sings the blues

Daniel Thomas DavisThe Impossible She, was a towering musical achievement, a hugely complex work packing a whopping political and intellectual punch.

on May 20, 2019 at 10:00 AM
Orpheus condescending Orpheus condescending

Iestyn Davies is, of course, a renowned Handellian, and he sang Handel’s music with clarity, restraint, and precision.

on May 17, 2019 at 1:06 PM
The end is the beginning of the end The end is the beginning of the end

At the Metropolitan Opera’s Götterdämmerung on Saturday afternoon, the fires which consumed the Gods burned lukewarm.

on April 29, 2019 at 9:40 AM
Teenager in love Teenager in love

Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial

on April 14, 2019 at 12:47 PM
Gladiator tidings Gladiator tidings

The finals on Sunday seemed a bit like the modern-day operatic equivalent of the Roman colosseum.

on April 01, 2019 at 4:25 PM
Why so seria? Why so seria?

At the Metropolitan Opera on Saturday night, Mozart’s opera never sounded fresher, a superstar cast shining new light on one of the composer’s all-too-seldom-performed scores.

on March 31, 2019 at 2:38 PM
Everybody dance now Everybody dance now

Austin McCormack‘s lascivious choreography outshone a tepid and tedious staging of Saint-Saëns’s old-testament epic.

on March 17, 2019 at 4:05 PM
Cryptic Cryptic

Hearing Lucas Meachem perform Kindertotenlieder in the crypt of Harlem’s Church of the Intercession was a heart-warming, and ultimately uplifting experience.

on March 09, 2019 at 10:49 AM
Follow her lead Follow her lead

Barbara Hannigan‘s electrifying performance with the Juilliard Orchestra on Friday night proves that she is as much a force to be reckoned with on the podium as she is onstage.

on February 09, 2019 at 3:58 PM
Borderlines Borderlines

While 4.48 Psychosis is an intricately-crafted, deeply moving portrait of human agony, Pancho Villa from a Safe Distance lacks the creative clout to realize its artistic ambitions.

on January 07, 2019 at 4:06 PM