Judith Malafronte on firebrand pedagogues, the old-school singing manual revival, and what many voice teachers are getting wrong.
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When asked to express some “thoughts” here about Verdi’s Il trovatore, my immediate thought was “hmm… not a lot to think about there.”
Judith Malafronte sits down with bass David Leigh who debuts as Rocco in Washington National Opera’s production of Fidelio next week
Sylvia Korman previews The Listeners, the latest and most ambitious opera by Missy Mazzoli and Royce Vavrek that opens this week at Opera Philadelphia with tickets for just $11
Andrew Lokay discusses the real world of warfare behind Jeanine Tesori and George Brant‘s Grounded, which opens the Met season on Monday.
Like Emily discovering her gift in The Weight of Light, Vanguard fellows (ideally) come through a process of intense multivocality with a stronger sense of their own individual voice.
In 1982 I saw Turandot at the San Francisco Opera, the year after I became an opera fan, and it was my first live opera.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
La Cieca is actively searching now for a weekly audio or video feature to permanently replace the defunct “Montag Mit Marianne.”
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