Alexander Köpeczi, currently plying leading roles in two operas in Santa Fe and, rumor has it, the life of one prominent soprano, is the object of this week’s Grand Tier Grab Bag.
Ilana Walder-Biesanz reports from The Santa Fe Opera, where Tobias Picker‘s latest opera falls short, a new Rodelinda scintillates, and sumptuous singing abounds across the entire repertoire.
Tobias Picker and Aryeh Lev Stollman‘s Lili Elbe receives its first recording ahead of its stateside transition.
Brett Dean‘s Of One Blood casts a well-trodden Tudor tale in a poignant, new light.
Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await him.
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
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.
In an all-Mozart program with the San Francisco Symphony, Golda Schultz shows that her soubrette days are behind her.
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.”
James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
Ross Wassermann tracks the development of “Che farò senza Euridice?” — and “J’ai perdu mon Eurydice” — for this month’s Perspectives on an Aria
Le nozze di Figaro in Santa Fe is a light and kindly revival while The Turn of the Screw is crisp and atmospheric
The Santa Fe Opera’s fine first Die Walküre finds Wagner in America at a crossroads.
Rigoletto at The Santa Fe Opera is a near miss.
La bohème at The Santa Fe Opera feels warmed over in more ways than one.
Jacquelyn Stucker leads a performance recorded last month in Santa Fe
A performance recorded earlier this summer at The Santa Fe Opera
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
While the thoroughly established Lawrence Brownlee reprises his familiar Count Almaviva in the Met’s Barbiere di Siviglia, parterre box calls your attention to another Mr. Brownlee making waves: Nicholas Brownlee.
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.
While everyone tries to figure out what on earth Strauss and Hofmannsthal are up to in Die Frau ohne Schatten, now playing at the Met, Chris’s Cache offers a later, simpler, shorter Strauss with three live broadcasts of his “bucolic tragedy” Daphne.
A revival of Huang Ruo’s M. Butterfly, a co-production between the Barbican and BBC Symphony Orchestra, landed in London last week.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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