Dan Johnson on the unique voice of Hildegard composer Sarah Kirkland Snider — and why some music could only ever be written by a woman.
Ahead of a new production opening at the Met on New Year’s Eve, director Charles Edwards and Lisette Oropesa discuss creating an I puritani that is stark and serious — and sings.
Composer Philip Venables talks about queer utopias and bending gender and genre in The Faggots and Their Friends Between Revolutions which opens at the Park Avenue Armory this week.
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
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
Brendan Latimer sits down with Francesca Zambello and members of the cast of Washington National Opera’s production of Aïda to discuss the complicated legacy of one of Verdi’s most beloved works and the tricky business of “inventing the truth.”
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
Carmen Paddock looks at contemporary opera’s prestige literary turn and what it takes for operas adopted from novels to last.
Sherrill Milnes sits down with Brendan Latimer to talk about his life, career, and what he hopes to pass along to the next generation
In Smetana‘s Dalibor, a rescue opera and a nationalistic fable collide at this year’s SummerScape Festival
The Met doesn’t have the monopoly on Salome this spring — look no further than Catapult Opera’s San Giovanni Battista which opens in Brooklyn next month.
Opera Parallèle is revisiting Stewart Wallace and Michael Korie’s Harvey Milk during Pride Month. It’s “not a reaction,” but it couldn’t be more timely.
A new opera company in Hell’s Kitchen is preparing for its first performances of Tosca – and it’s putting the experience of chronic illness front and center.
Judith Malafronte on firebrand pedagogues, the old-school singing manual revival, and what many voice teachers are getting wrong.
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.
It’s time to discuss Zinka Milanov.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
