Cavalcade of stars
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
It’s not where you start but where you Finnish
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Wolfgang Holzmair‘s performance was amazing in its personal and intimate approach.
A first-time operagoer is lured to Thaïs at Opera Idaho by the promise of a new experience… and Neil, the Burmese python
William Parker‘s career launch coincided with the closet door fully opening for American male classical vocalists; the cruel irony is that Will was also an early AIDS casualty, gone in 1993 at 49.
Led by Yannick Nézet-Séguin and Yoann Combémorel, the Curtis Symphony Orchestra proves themselves the equal of any major American orchestra in a program of Mahler, Wagner, and Dawson.
This song has always been one of my favorites.
The song recitals I remember most vividly were, unsurprisingly, the most vivid ones.
Parterre Box acknowledges Riccardo Muti‘s 600th performance with the Chicago Symphony Orchestra by highlighting two of his favorite singers — under a different conductor.
The staggeringly great Ukraine-born Jewish bass Mark Reizen sings “The Ebullient Kura Swirls” a/k/a “The Persian Love Song” by Moldova-born Jewish composer Anton Rubinstein.
Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa‘s bold production at the Lyric Opera of Chicago.
Parterre Box is announcing a formal partnership with Kalshi Inc.
Frida Leider is a major Wagnerian soprano who does not sound like a Wagnerian soprano.
Barrie Kosky’s zany production of The Nose time-steps back onto the Komische Oper Berlin stage.
As a (former) bass singer myself, I’ve always been captivated by this aria.
Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
Washington National Opera offered a searing production of Robert Ward’s opera The Crucible, directed by WNO Artistic Director Francesca Zambello, as the second installment in the company’s next chapter.
Pure class. Kurt Moll really knew his own voice inside out.
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