Ghost sex is part of the popular zeitgeist.
New York Times Classical Music Editor Zachary Woolfe (pictured) joins #KikiKonversations with Karen Slack.
The first part of a chat with the dramatic mezzo-soprano.
A conversation with maestro Gil Rose of Odyssey Opera.
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
In this recital, the Polish bass-baritone Tomasz Konieczny and his pianist Lech Napierala present the world premiere recording of Stanislaw Baranczak‘s Podróz Zimowa (Winter’s Journey), which weds the poet’s meticulously crafted poetry to the music of Franz Schubert.
Next Marko Mimica discussed which music “reached” him most and how he regards expressing himself in various languages.
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
In Bellini’s opera Norma, the “padre” role of Oroveso, it may be safely said, is “undistinguished”—dull and conventional. The bass entrusted with the role usually will engender two reactions: more frequently than not, “Cut this boring music,” and rather more rarely: “What a pity Oroveso doesn’t have more music.”
How did you first grow interested in singing?
Never in my wildest dreams did I imagine I would be having lengthy telephone conversations with John Raitt.
Mezzo Rinat Shaham takes a short break from being the world’s busiest Carmen and rehearsing for the theatrical concert “The Sorrows of Young Werther” to dish with your doyenne.
Fifteen years after his first parterre box interview, that criterion of countertenors David Daniels speaks of Oscar Wilde, Marilyn Horne, marriage and political art.
Our Own Poison Ivy interviews conductor Alain Altinoglu over at her own blog, Poison Ivy’s Wall of Text.
American mezzo Jamie Barton, who has steadily been winning fans in the US over the past few years for her rich and nuanced singing, took the international opera world by storm last weekend by winning both the Song Prize as well as the overall prize in the BBC Cardiff Singer of the World competition.
Beatrice di Tenda was a problem child, Vincenzo Bellini an alternately protective and disparaging parent.
Opera Teen (pictured, second from left) is not kidding us: he had an interview with Peter Gelb.
Recently your doyenne engaged in an email-based interview with David Alden, director of the Met’s new production of Un ballo in maschera, opening on Thursday.
Composer Nico Muhly took a break between operatic world premieres to order a daiquiri and talk to our own JJ about height, haters and flight path. [Capital New York] (Photo: Peter Ross)
I was on the bus to Nürnberg today on the way to do Wagner tourism and hear Herr Sacro Fuoco tomorrow, and on the way I translated the juicy bits of the full print edition Anna Netrebko article… I was going to post it as a comment but it turns out I thought a lot…
Though Margaret Juntwait may have caught him pitifully unprepared, James Levine did say a few words for those lovely people among the Sirius audience last night during the intermission of Ariadne. Those of you who missed this singular event may want to take a peek after the jump.
Our own JJ “sits down” (figuratively speaking) with Robert Lepage to “talk” (also figuratively speaking) about his production of The Nightingale and Other Short Fables, opening tomorrow night at BAM. [New York Post]
Parterre’s tutelary diva shares espresso and cookies with parterre’s fave scribe Zachary Woolfe in preparation for the gala Met Legends event honoring her next Sunday.
“In the Met’s Tales of Hoffmann, Giuseppe Filianoti plays a poet defeated by life. In reality, the 36-year-old singer’s brush with tragedy had a far happier ending.” The tenor talks to Our Own JJ in the New York Post.