Akhnaten has lost none of its power or glitz at the Los Angeles Opera.
George Frideric Handel (born 341 years ago on Monday) composed over 40 operas including many masterpieces, but his Giulio Cesare is the one that everyone knows best.
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.”
The vivacious MANON! at Heartbeat Opera makes a strong case for the return of opera in translation.
The opera is life affirming, but also recognizes that life comes to an end.
There was that Tristan.
It took me a while to “warm up” to Wagner.
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.
Audacious star performances elevate safe direction in Richard II and The Seagull on London’s West End
My parents- heroes that they were- used to drive me to Tower Records in Piccadilly Circus (RIP, to both the store and while we’re here, to my parents) after dinner on my birthday, to take advantage of the fact that it was open until midnight.
“[W]omen are interesting and important in real life. They are not an afterthought of nature, they are not secondary players in human destiny, and every society has always known that.” — Margaret Atwood, February 2017
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
We may all be armchair Handelians, but some of us are more used to it than others.
The fourth production of Santa Fe Opera’s 66th Festival Season that opened on Saturday June 22 offered a multitude of firsts.
In Richard Strauss’s Arabella, the heroine is consumed with finding the right man—der Richtige—but who is the right Arabella?
Arts Council England, as a global policy trendsetter, may have sounded the death knell for the international opera industry as we know it.
One wonders whether an obsession with metrics and measurement has the potential to create arts organizations that are more preoccupied with finding systems that quickly and efficiently tick the Arts Council’s boxes than with creating meaningful, impactful art.
“Opera needs a reset. We think there needs to be a fundamental shift in the ecology.”
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
Why did Ted Sperling and MasterVoices choose to perform an old warhorse like Carmen which has been produced almost continuously over decades just up the street at Lincoln Center?
Trove Thursday’s belated contribution to last weekend’s Platinum Jubilee is a broadcast from Aldeburgh of Benjamin Britten’s Gloriana with Christine Brewer and Tom Randle as Elizabeth and Essex, an opera which premiered 69 years ago yesterday.
To celebrate Valerie Masterson‘s turning 85 tomorrow, Trove Thursday offers a second annual birthday salute to the English soprano.
I wonder why many New Yorkers have been led to believe that the only Handel conductor in the world is Harry Bicket.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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