Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
I sort of have a love/hate fascination with countertenors/male falsettists.
Wolf Trap Opera presented a lovely Eugene Onegin with particularly noteworthy performances by Magdalena Kuźma and Daniel O’Hearn.
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.
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.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Bass-baritone Le Bu’s recital with Vocal Arts DC highlighted his linguistic and timbral versatility.
Brigitte Fassbaender’s acid-laced production of La finta giardiniera leans into the absurdities of Mozart’s early dramma giocoso.
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
An exciting cast digs their claws into a heady production of La Calisto at the Théâtre des Champs Elysées.
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
Kaija Saariaho’s spectral, shattering Innocence makes its Metropolitan Opera debut.
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
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!
Caitlin Vincent‘s new book Opera Wars paints a persuasive picture of the problems facing opera today, though her solutions leave something to be desired.
In an all-Mozart program with the San Francisco Symphony, Golda Schultz shows that her soubrette days are behind her.
Das Wunder der Heliane fuses sex with the sacred at a simmering performance at the Opéra National du Rhin.
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.
Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
A starry (and potentially annual) Christmas gala lights up Carnegie Hall.
Washington National Opera presented a well-sung and humorous Marriage of Figaro, buoyed by clever direction and a strong cast, particularly Rosa Feola’s Countess and Joélle Harvey’s Susanna.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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