Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
Alexander Köpeczi, currently plying leading roles in two operas in Santa Fe and, rumor has it, the life of one prominent soprano, is the object of this week’s Grand Tier Grab Bag.
Ilana Walder-Biesanz reports from The Santa Fe Opera, where Tobias Picker‘s latest opera falls short, a new Rodelinda scintillates, and sumptuous singing abounds across the entire repertoire.
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
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.
Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await him.
Verdi’s Stiffelio goes Amish in Vienna, featuring a stellar Luciano Ganci in the title role.
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
Boston Lyric Opera’s Revolutionary War-set Daughter of the Regiment prioritizes accessibility without losing its charm.
Opera San José‘s La Traviata has all the buzz and energy of a world premiere.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
The St. Louis Symphony Orchestra under conductor Stéphane Denève plays up the schtick in a concert performance of The Magic Flute – and obscures Mozart’s magic in the process.
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.”
A stark, sweltering performance of Lady Macbeth of Mtsensk shocks the Komische Oper Berlin.
Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
Ahead of the return of Louise to the Opéra National de Lyon, Parterre Box features Elsa Dreisig in a much more famous French opera.
Austin Opera’s 40th anniversary gala celebrated the present while gesturing boldly towards the future.
A new production of Parsifal at San Francisco Opera stirred something deep inside Michael Anthonio about how music soothes the soul
Other queens have been richer of voice or more dramatically compelling, but none I have ever heard succeeds in sounding something other than human.
Christof Loy‘s Louise in Aix-en-Provence scratches at the urban– and operatic– unconscious
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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