Scott Grunow says you must watch Humoresque
Tristan transcriptions for violin, piano, and orchestra.
Tristan transcriptions for violin, piano, and orchestra.
George Benjamin‘s opera live from the Accademia Nazionale di Santa Cecilia in Rome
Antony and Cleopatra is perhaps not the showcase Elizabeth DeShong deserves, so Grand Tier Grab Bag highlights the superlative mezzo in two clips
Jeanette MacDonald singing in her movies got the ball rolling for my lifelong interest in opera.
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
Greta Garbo as diva Rita Cavallini with an Italo-Swedish accent.
With tight, jazzy orchestrations, a queer-coded Mephistopheles, and sassy modern recitative, Heartbeat Opera’s fast 100-minute Faust delivers Gounod in miniature, minus some of the schmaltz.
I love the use of the Liebestod at the end of Romeo + Juliet. It’s such a lush, romantic way to end the movie. The most Baz Lurhmann thing ever.
Buoyed by a cast of emerging stars, the Metropolitan Opera’s revival of Il Barbiere di Siviglia asserted a key trait of this ubiquitous buffo: it is a young person’s opera.
Impossible to pick any one film clip, but it’s hard to imagine a more evocative use of operatic music than Lars von Trier‘s Melancholia.
Opera Parallèle is revisiting Stewart Wallace and Michael Korie’s Harvey Milk during Pride Month. It’s “not a reaction,” but it couldn’t be more timely.
I think Babette’s Feast is a more or less perfect film and has been my favorite since the first time I saw it.
The thing that inspires me about Pavarotti’s performance here is that this is the piece within the opera that everyone in the audience is waiting to hear.
Philippe Jaroussky conducts a performance recorded last month in Montpellier featuring Levy Sekgapane
Anna Paquin cries at the opera to the Barcarolle from Tales of Hoffmann (Renée Fleming and Susan Graham)
Ahead of tomorrow’s Live in HD, Michael Steinberg talks Leonore, Salome, and the “endemic misogyny” of Claus Guth‘s new production
It’s mad! It’s gay! It’s Michael Fabiano singing “Come un bel dì di maggio” from Andrea Chénier!
One of the most striking uses of opera in television appears in HBO’s The Leftovers.
An impressive cast blurs binaries as John Adams‘s ambitious Antony and Cleopatra arrives at the Met
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