Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
Matthew Travisano has such doubts about Douglas Cuomo‘s opera recently seen at Opera Parallèle.
Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
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!
A classic German fairytale gets a modern update at the Staatsoper Berlin.
It’s Norma, darling. We know.
Nicky Spence sings the title role in a performance recorded earlier this spring in Cardiff
This performance of Mahler’s Symphony N°8 at the Bozar in Brussels will probably be my last ever Mahler concert.
Double double, toil and trouble, y’all, and happy spooky season from Slaylem. (It’s like Salem, but fun.)
One moral is that Eugene O’Neill may just not be opera fodder.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
In an ingenious stroke of double casting, the Met’s new Forza del destino brings back the Marquis of Calatrava—father of the heroine Leonora, unintentionally killed in the opening scene by a bullet from her lover’s pistol—as Padre Guardiano, Father Superior of the monastery that will take her under its protection as a hermit in Act 2.
Finding Britten’s The Rape of Lucretia on the Academy of Vocal Arts calendar was both a pleasure and something of a surprise—the latter because the work is far from central repertoire, even in a conservatory.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
On this ray in 1932, soprano Göta Ljungberg made her Metropolitan Opera debut as Sieglinde.
Dame Ethel Smyth’s third opera, The Wreckers, opened at Houston Grand Opera on October 28 and runs through November 11.
We watch Peter Grimes being made into a deviant— a process that can take place through the mechanism of the law, but often happens outside of it through social processes.
Trove Thursday’s belated contribution to last weekend’s Platinum Jubilee is a broadcast from Aldeburgh of Benjamin Britten’s Gloriana with Christine Brewer and Tom Randle as Elizabeth and Essex, an opera which premiered 69 years ago yesterday.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
It’s nice to see Sony Classical backing a serious operatic soprano and not some crossover refugee from Britain’s Got Talent or another syrupy Christmas album from the world’s reigning Heldentenor.
In the month and a half leading to Bernard Haitink’s passing on October 21, my AirPods constantly channeled a musical festival of sorts centered on the Dutch giant’s expansive discography.
Soprano Erin Wall died in early October, a month shy of her 45th birthday; Trove Thursday remembers her with a 2012 broadcast of Kaija Saariaho’s shimmering L’Amour de Loin.
A brace of Handel operas at the George Enescu International Festival.
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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