Judith Malafronte

You may have read Judith Malafronte’s reviews and feature articles in Opera News between 2000 and 2023. You may not have heard her sing Bach, Handel, Monteverdi, and medieval music with various ensembles including the San Francisco Symphony, the Los Angeles Philharmonic at the Hollywood Bowl, the St. Louis Symphony, American Bach Soloists, the Göttingen Handel Festival, and the Waverly Consort. She won several competitions in Europe and recorded for Harmonia Mundi. Her interests include walking various Camino routes in Spain, France, and Portugal.

Is our singers learning? Is our singers learning?

Judith Malafronte on firebrand pedagogues, the old-school singing manual revival, and what many voice teachers are getting wrong.

on November 22, 2024 at 9:00 AM
Here a Leigh, there a Leigh Here a Leigh, there a Leigh

Judith Malafronte sits down with bass David Leigh who debuts as Rocco in Washington National Opera’s production of Fidelio next week

on October 15, 2024 at 9:00 AM
Unprotected Unprotected

Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.

on February 21, 2018 at 11:24 AM
Eternal, feminine Eternal, feminine

For her first CD in six years, Angela Gheorghiu has chosen Italian repertoire.

on October 18, 2017 at 9:00 AM
Divine intervention Divine intervention

The second half of Warner Classics’ Maria Callas Live Remastered set represents the years 1954 to 1964 in the career of La Divina.

on September 15, 2017 at 11:37 AM
Divinity, restored Divinity, restored

All the daring and imagination of La Divina’s live work, particularly in the early years, is revealed in Warner Classics’ Maria Callas: The Live Recordings.

on September 13, 2017 at 8:00 AM
A midnight girl in a nine o’clock town A midnight girl in a nine o’clock town

Samantha Hankey, so impressive as Diana and Giove-in-Diana in Juilliard’s recent run of Cavalli’s La Calisto, was the perfect Cenerentola.

on August 07, 2017 at 10:35 AM
Tenors gone wild Tenors gone wild

Among several fine productions at Aix this summer, Dmitri Tcherniakov’s brilliantly conceived and executed Carmen proved a game changer. 

on July 14, 2017 at 1:28 PM
The beautiful stage is empty The beautiful stage is empty

Two productions at the Aix-en-Provence festival shared one look.

on July 12, 2017 at 12:04 PM