He has conducted some of my favorite opera recordings.
Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
Conductor Eun Sun Kim and soprano Elza van der Heever play to their strengths in a piercing revival of Elektra at San Francisco Opera.
Verdi’s Stiffelio goes Amish in Vienna, featuring a stellar Luciano Ganci in the title role.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
The inaugural New Orleans Opera Festival goes big across the Big Easy.
Das Wunder der Heliane fuses sex with the sacred at a simmering performance at the Opéra National du Rhin.
Jennifer Holloway, star of Salome at the Lyric Opera of Chicago, talks with Christina Colanduoni about re-launching her career as a soprano and how her Salome is “just trying not to disappear under everybody else’s rule.”
“When there’s so much to get right, unsurprisingly a lot can and, as we all know, does go wrong.”
Grand Tier Grab Bag highlights two “Final Trios” from Der Rosenkavalier recorded just two days apart from one another.
Der Rosenkavalier is a three-hour meditation on nostalgia. What could be better to bathe in?
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
A performance recorded last month and reviewed here featuring Véronique Gens, Niamh O’Sullivan, Regula Mühlemann, and Peter Rose
A live video broadcast from Vienna
Krzysztof Warlikowski‘s Der Rosenkavalier at the Théâtre des Champs Elysées surpasses even Nigel Wilkinson‘s high ‘WTF threshhold’
Some people were introduced to the art form listening to the Met’s NBC broadcasts on a glowing tube radio or watching acid-trip animated adaptations on the BBC or seeing Elmer Fudd sing, “Kill the Wabbit.” I came to opera through simulated drive-by shootings soundtracked by The Marriage of Figaro.
Some of my blog‘s habitués (they do exist) will know that I sometimes quote the people around me at the opera.
Aside from a tour with the LSO this spring, this was, I believe, the only time Antonio Pappano would be conducting in the US this season. This made the concert at Symphony Hall a real treat.
In concert with Renée Fleming’s quietly authoritative stage presence, the performance offered frequent reminders of the special affinity between this singer and Strauss’s aristocratic women.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
Nothing says “diva” like an insane recital program.
The great archetypal image of an opera singer is a towering Wagnerian soprano who shatters entire panes of glass the moment she opens her mouth.
On June 20, a rather breezy, pleasant cool summer evening, the soprano Gabriella Reyes, tenor René Barbera and baritone Will Liverman took over the Summerstage space with a wide-ranging, ambitious recital program with Dimitri Dover tickling the ivories.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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