Finding Britten’s The Rape of Lucretia on the Academy of Vocal Arts calendar was both a pleasure and something of a surprise—the latter because the work is far from central repertoire, even in a conservatory.

Anna Bolena might be the earliest of Donizetti’s operas that might have name recognition to a non-specialist audience.

Updating opera settings is, of course, expected; I’d wager in most houses more often than not it’s now the norm. Still, few in my experience have the specificity and local immediacy of Don Pasquale at the Academy of Vocal Arts.

Soprano Lydia Grindatto confirmed the fine impression she had made at Giargiari vocal competition with a charismatic, thoroughly inhabited performance that showed careful preparation in every aspect.

There was something very Russian—indeed, Chekhovian—about the mix of joy and tears, as the Academy of Vocal Arts performed Tchaikovsky’s Eugene Onegin

I’ll just note that Cameron and I listened separately; we didn’t compare notes; and on our own, came up with the same list of top three singers… none of whom were among the actual winners.

It was hard for me not to get choked up, watching two of AVA’s most promising young graduates having to make this opportunity for themselves, and doing it with such palpable good humor.

Donizetti’s La Favorite remains a relative rarity in the repertoire, especially in the original French version.

Since 1934, Philadelphia’s Academy of Vocal Arts has been preparing emerging artists for operatic careers.