The fact that Barbara Hannigan has never performed at The Metropolitan Opera is just plain dumb.
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.
A captivating Asmik Grigorian leads the Bayerishce Staatsoper‘s revival of its Holocaust-set Salome.
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!
An excellent Věc Makropulos at Opéra de Lille makes the case for the vitality and necessity of France’s regional companies.
“When there’s so much to get right, unsurprisingly a lot can and, as we all know, does go wrong.”
Looking back, this Stiffelio in Piacenza is the one I cherish the most.
Barbara Hannigan‘s Lulu is the greatest live performance I’ve seen.
Krzysztof Warlikowski‘s Der Rosenkavalier at the Théâtre des Champs Elysées surpasses even Nigel Wilkinson‘s high ‘WTF threshhold’
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.
Don Carlos returns to the Opéra National de Paris and it’s an unusually happy occasion
The return of Cherubini‘s Medée to the Opéra Comique may be a homecoming, but Nigel Wilkinson almost went home at intermission.
It was, at least, a jolly good show. Whether or not it actually suited Stravinsky’s music or Auden and Kallman’s text, is another question.
Can György Ligeti‘s only opera be understood as the composer’s own grappling with trauma, death, and memory of a past life?
As a burgeoning opera fan, I relied on YouTube to connect me with the art form.
Since my previous CD round-up review the onslaught of solo recital disks of 18th century (and sometimes also 17th) vocal music has continued unabated.
The crown jewel of this year’s Munich Festival is undoubtedly Richard Wagner’s Tristan und Isolde, which opened the Festival on June 29 and will close the Festival with an “Opera for All” screening on July 31.
Tonight at the Met should have welcomed Barrie Kosky’s production of Prokofiev’s The Fiery Angel; in its absence Trove Thursday steps in with a recent broadcast featuring this summer’s breakout star Ausrine Stundyte as the enigmatic Renata.
The Wiener Staatsoper commemorated its 150th anniversary with a musically sensational presentation of Richard Strauss’ Die Frau Ohne Schatten.
The Paris Opera continued their 350th anniversary celebration January 26 with a brand new production of Alessandro Scarlatti’s 1707 oratorio Il Primo Omicidio ovvero Caino.
Although she didn’t sing that eponymous song by Reynaldo Hahn at Weill Recital Hall Thursday evening, Sabine Devieilhe did offer an “exquisite hour” of early 20th century French songs.
Trove Thursday offers a pair of live broadcasts of Médée featuring two compelling mid-20th century divas—Inge Borkh in German and Eileen Farrell in Italian.
Endlessly extricating her from existing contracts then negotiating new ones must make being Sonya Yoncheva’s manager the hardest job in the music business.
The subject of timidity has been in my thoughts in these waning days of February 2017. One would almost think there had been some big announcement recently, preceded by a series of smaller ones, to turn a U.S.-based opera fan’s thoughts in this direction.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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