Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
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.
Fifty some years ago I stumbled on to John Barbirolli‘s recording of matchless Elgar & V-Williams music for strings and discovered my go-to conductor for life.
He has conducted some of my favorite opera recordings.
Verdi’s Stiffelio goes Amish in Vienna, featuring a stellar Luciano Ganci in the title role.
To celebrate the 100th anniversary performances of Turandot at the Met starting next week, Patrick Dillon gives a listen to seven versions of “Signore, ascolta!” for Perspectives on an Aria.
Madama Butterfly at Opera Colorado plays it safe — and never fully takes flight.
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa‘s bold production at the Lyric Opera of Chicago.
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.
Diana Soviero chats with Roger Pines about six decades of performing, four decades of teaching, and how she’s handing the tradition off to the next generation.
Franz Welser-Möst leads a rigorous, if emotionally staid, performance of Verdi‘s Requiem at Carnegie Hall.
The oddball pairing of Bernie Williams and Jonathan Tetelman doesn’t quite knock it out of the park at Carnegie Hall.
Nearly three years after the premiere of François Girard’s Lohengrin at the Met, Parterre Box looks back at the production with a duet from Piotr Beczala and Elena Stikhina.
Vincent Lombardo pays poetic tribute to the 60-year-long career of Robert Wilson.
Ursula Sturgeon looks at the furry opera company HowlAria and discovers that maybe one man’s Callas recording collection is another man’s fursuit.
My comfort opera after all these years remains Puccini’s Madama Butterfly, even with its sociologically problematical presentation of Japanese culture.
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
In the pursuit of clowning, Anthony Roth Costanzo’s Galas may have lost sight of “the seriousness of the theme.”
Mexican soprano Gilda Cruz-Romo died on 28 June at the age of 85 and Chris’s Cache remembers her with live recordings of a frequent role and a rather rare one: a last-minute Met Tosca plus perhaps her only stab at the Cherubini Medea.
Performances of Pittori fiamminghi and Madama Butterfly in picturesque Castell’Arquato were a fine way to honor Luigi Illica, the city’s native son
The Met’s mostly successful revivals of The Queen of Spades and La bohème showcase the returns of Sonya Yoncheva and Corinne Winters
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.
Eleonora Burrato and Jonathan Tetelman lead a performance from Berlin recorded last week with Kirill Petrenko conducting
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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