It is no wonder Bernard Herrmann relishes the wistful lyricism in Barber’s masterwork, as Herrmann’s score for Vertigo is among the most beautiful and haunting of all film scores ever composed.
Vanessa is spare and compelling in Heartbeat Opera’s production.
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
Baritone John Brancy smoothly traverses the American songbook at Carnegie Hall.
Jennifer Holloway, star of Salome at the Lyric Opera of Chicago, talks with Christina Colanduoni about re-launching her career as a soprano and how her Salome is “just trying not to disappear under everybody else’s rule.”
A high-drama Vanessa by the Boston Symphony Orchestra offers something to believe in.
R.B. Schlather‘s shadowy production with Heartbeat Opera at the Williamstown Theatre Festival proves that Vanessa might be coming into its own at last
Some people were introduced to the art form listening to the Met’s NBC broadcasts on a glowing tube radio or watching acid-trip animated adaptations on the BBC or seeing Elmer Fudd sing, “Kill the Wabbit.” I came to opera through simulated drive-by shootings soundtracked by The Marriage of Figaro.
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
Her star is indeed on the rise, but squarely on her terms.
Julia Bullock seems to fission herself multiple times over during the course of her newest, widely ranging recital program.
On this day in 1984, the Metropolitan Opera presented a new production of Zandonai’s Francesca da Rimini.
Call Out is an ample demonstration of Zachary James’ many talents—and an inspiring example of the artistic light that can be generated even when our theaters are temporarily dark.
Who could doubt that Leontyne Price contains multitudes?
Broadway star Kelli O’Hara stepped out of her comfort zone.
Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
All about the life of Lorenzo Da Ponte, but depicted as an opera performed as a dress rehearsal for an opera.
UrbanArias’ recording of Paul’s Case is an antidote to the intellectual pretensions that regularly drag contemporary opera performance toward tediousness and boredom.
The chaos is nonstop, the comedy is broad and physical, and requires a large ensemble of singers who can execute Rossinian polysyllabic patter while taking pratfalls.
In addition to Jessye Norman, this event paid homage to the shamefully obscure soprano Sissieretta Jones—once billed as “The Black Patti.”
I hardly know where to heap my praise first.
Opera Philadelphia’s O18 Festival continues through the weekend, but Friday represented a finale of sorts with the last two premieres.
Julia Bullock revisited a few well-trodden song cycles and lieder but pointed up their hidden politics.
The most distinct pleasure of The Merry Widow at the Metropolitan Opera was the polished, yet warm, performance of Susan Graham as Hanna Glawari.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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