Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
Brigitte Fassbaender’s acid-laced production of La finta giardiniera leans into the absurdities of Mozart’s early dramma giocoso.
Despite some fine performances, Così fan tutte at the Livermore Valley Opera doesn’t quite click into place.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
In an all-Mozart program with the San Francisco Symphony, Golda Schultz shows that her soubrette days are behind her.
Ahead of a special boozy, bawdy Valentine’s Day concert, artistic director of Opera Lafayette Patrick Quigley speaks with soprano Maya Kherani about her journey from MIT to rising American Baroque star.
Ahead of the return of Louise to the Opéra National de Lyon, Parterre Box features Elsa Dreisig in a much more famous French opera.
I never thought an opera production could be this well done.
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
Other queens have been richer of voice or more dramatically compelling, but none I have ever heard succeeds in sounding something other than human.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
A stylish and funny Così fan tutte at LA Opera is a pretty glam affair, according to Patrick Mack.
John Yohalem reports on a serendipitous recital from J’Nai Bridges and Joshua Mhoon in Montclair, New Jersey
Following last week’s multiple versions of three prime concert arias, Chris’s Cache concludes its Mozart month by offering more of those special vocal works, this time twenty-five arias for mezzo, tenor or bass, as well as more for soprano.
Sing High, Sing Low – My favorite Fiordiligi
War! Heroism! Mysterious strangers! Attempted suicide! Steadfast love! Così fan tutte, as staged November 18-21 at Juilliard Opera, had… none of these things.
Needing a Mozart palate-cleanser after the recent misbegotten Marriage of Figaro, I went back more than two decades for a Houston Così fan Tutte featuring then-rising Americans Christine Goerke, Joyce Di Donato, Richard Croft, and Nathan Gunn as the confused lovers.
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
It would be enough to compare his official studio recording of this work with the recent performances in Turin to confirm that today Riccardo Muti is no longer totally ‘Mutian’
My sole live encounter with Seiji Ozawa coincided with his final appearances at the Metropolitan Opera, where he conducted its 2008 revival of Tchaikovsky’s Pikovaya Dama.
Eagerly awaiting Met May Mozart Madness, Chris’s Cache presents a starry quintet of the master’s operas not being done next month.
For anyone who thought that Downton Abbey, with its plot lines divided between the gentry and their faithful (or not-so) servants was somehow unique, that particular tale, and lo its many variations, has been told in one form or another since Pierre-Augustin Caron de Beaumarchais put quill to paper in 1778 with La Folle Journée, ou Le Mariage de Figaro.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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