Lisa Hirsch
Lisa Hirsch studied music at Brandeis University and Stony Brook. She studied flute seriously for a number of years and has sung a wide variety of music in many choruses. She has written about opera and classical music for San Francisco Classical Voice, Opera News (RIP), Opera, and the San Francisco Chronicle. She blogs about these subjects at Iron Tongue of Midnight, which also includes many of her photos.
Though she has attended San Francisco Opera and other companies since the early 1980s, her opera obsession really started in the early 90s, when she started listening to historic singers.
Malin Byström is a radiant water nymph in the Bayerische Staatsoper‘s house-of-horrors-set Rusalka.
Dmitri Tcherniakov‘s production of Der Freischütz in Munich may fire a few blanks, but the musicians are all on target.
Despite some fine performances, Così fan tutte at the Livermore Valley Opera doesn’t quite click into place.
Davóne Tines leads a thought-provoking program in San Francisco reconsidering patriotism, dissent, and spirituality as the United States faces down its quarter millennium crisis.
A Strauss rarity receives a ravishing concert performance at Seattle Opera.
Le nozze di Figaro in Santa Fe is a light and kindly revival while The Turn of the Screw is crisp and atmospheric
The Santa Fe Opera’s fine first Die Walküre finds Wagner in America at a crossroads.
Rigoletto at The Santa Fe Opera is a near miss.
La bohème at The Santa Fe Opera feels warmed over in more ways than one.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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