The anxiety of influencer
Constance: A Confession, presented in Brooklyn by Experiments in Opera, satirizes our digital age with style.
Constance: A Confession, presented in Brooklyn by Experiments in Opera, satirizes our digital age with style.
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Bring on the drama, mama!
Nadine Sierra‘s Gilda at the Metropolitan Opera had that rare quality of sounding both immaculate and spontaneous, as if Verdi’s lines were being discovered in the moment rather than executed.
Gabriela Lena Frank’s El Último Sueño de Frida y Diego enchants and surprises despite the Disnified treatment of its subject matter.
Verdi’s Stiffelio goes Amish in Vienna, featuring a stellar Luciano Ganci in the title role.
Vanessa is spare and compelling in Heartbeat Opera’s production.
Tito Gobbi‘s performance of Rigoletto’s “Cortigiani, vil razza dannata” offers the most musically and dramatically complete portrait of Verdi’s tortured court jester that I have ever heard.
“Soprano Vida Miknevičiūtė will make her company debut singing the role of Minnie in the new production of Puccini’s La Fanciulla del West, replacing Sondra Radvanovsky, who has withdrawn due to personal reasons.”
The American tenor, who made a triumphant mid-career comeback in 2022, has died.
Clémence de Grandval’s Mazeppa gets the superhero treatment in Dortmund.
Handel’s Deidamia — and one of its current champions, soprano Sophie Junker — are the subject of this week’s Grand Tier Grab Bag.
I’ve looked to Sherrill Milnes many a time for insight and guidance whenever I’ve added a new Verdi role to my repertoire.
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
Stiffelio has always been the dark horse of early Verdi operas.
I have very few opportunities to see real-life opera divas, but when Natalie Dessay chose to debut her first Traviata at Santa Fe, there was no way I was going to miss it.
The air held a real charge that night in SF’s War Memorial Opera House.
The English soprano, famed for her interpretations of twentieth-century composers like Strauss, Britten, and Poulenc, as well as Mozart and operetta, died yesterday only a few days after announcing that she had a terminal cancer.
Erin Morley, Lawrence Brownlee, and Malcolm Martineau put on a jolly good show at the 92nd Street Y.
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