interview
Before rehearsals for Madama Butterfly started, Phil Chan sat down with the box to chat about his production, opera’s cultural appropriation problem, and why the last thing he’s trying to do is cancel Puccini.
By Harry Rose
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From Christian martyrs to naughty fairies, Teatro Nuovo will explore the tragic and comic sides of 19th century Italian Opera.
By Eli Jacobson
The first part of a chat with the dramatic mezzo-soprano.
A conversation with maestro Gil Rose of Odyssey Opera.
By John Yohalem
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
In this recital, the Polish bass-baritone Tomasz Konieczny and his pianist Lech Napierala present the world premiere recording of Stanislaw Baranczak‘s Podróz Zimowa (Winter’s Journey), which weds the poet’s meticulously crafted poetry to the music of Franz Schubert.
Next Marko Mimica discussed which music “reached” him most and how he regards expressing himself in various languages.
By Niel Rishoi
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
By Niel Rishoi
In Bellini’s opera Norma, the “padre” role of Oroveso, it may be safely said, is “undistinguished”—dull and conventional. The bass entrusted with the role usually will engender two reactions: more frequently than not, “Cut this boring music,” and rather more rarely: “What a pity Oroveso doesn’t have more music.”
By Niel Rishoi
How did you first grow interested in singing?
By Niel Rishoi
Never in my wildest dreams did I imagine I would be having lengthy telephone conversations with John Raitt.
By Niel Rishoi
Mezzo Rinat Shaham takes a short break from being the world’s busiest Carmen and rehearsing for the theatrical concert “The Sorrows of Young Werther” to dish with your doyenne.
By La Cieca
