Feature
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
Before her one-woman La voix humaine with the New York Philharmonic, Barbara Hannigan talks to Kevin Ng about her career, her artistry, and whether or not there’s a voice on the other line.
Gregory Spears, whose newest opera Sleepers Awake opens this week at Opera Philadelphia, is reviving Romanticism
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
Ilana Walder-Biesanz discovers how Houston Grand Opera is celebrating 250 years of America and 100 years of Carlisle Floyd with a new production of Of Mice and Men.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
Diana Soviero chats with Roger Pines about six decades of performing, four decades of teaching, and how she’s handing the tradition off to the next generation.
Jennifer Holloway, star of Salome at the Lyric Opera of Chicago, talks with Christina Colanduoni about re-launching her career as a soprano and how her Salome is “just trying not to disappear under everybody else’s rule.”
Dan Johnson on the unique voice of Hildegard composer Sarah Kirkland Snider — and why some music could only ever be written by a woman.
Dan Johnson gives an inside look at the creation of Sarah Kirkland Snider‘s rapturous new opera Hildegard which opens at New York’s PROTOTYPE Festival next week.
Ahead of a new production opening at the Met on New Year’s Eve, director Charles Edwards and Lisette Oropesa discuss creating an I puritani that is stark and serious — and sings.
Composer Philip Venables talks about queer utopias and bending gender and genre in The Faggots and Their Friends Between Revolutions which opens at the Park Avenue Armory this week.
James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
Ursula Sturgeon looks at the furry opera company HowlAria and discovers that maybe one man’s Callas recording collection is another man’s fursuit.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
Brendan Latimer sits down with Francesca Zambello and members of the cast of Washington National Opera’s production of Aïda to discuss the complicated legacy of one of Verdi’s most beloved works and the tricky business of “inventing the truth.”
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
Carmen Paddock looks at contemporary opera’s prestige literary turn and what it takes for operas adopted from novels to last.
Sherrill Milnes sits down with Brendan Latimer to talk about his life, career, and what he hopes to pass along to the next generation
In Smetana‘s Dalibor, a rescue opera and a nationalistic fable collide at this year’s SummerScape Festival
The Met doesn’t have the monopoly on Salome this spring — look no further than Catapult Opera’s San Giovanni Battista which opens in Brooklyn next month.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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