EDITOR-IN-CHIEF

David Salazar is the Editor-in-Chief for OperaWire and is one of its co-creators. He is in charge of managing the team, organizing coverage, and editing content in addition to writing reviews and interviews. He also heads the weekly Opera Meets Film articles and Opera Quizzes.

PUBLISHER

Francisco Salazar is OperaWire’s lead publisher and co-creator. His focus is on daily news articles and interviews, as well as managing OperaWire’s social media channels.

MANAGING EDITOR & WRITER

Jennifer Pyron is the Managing Editor and a writer for OperaWire since 2017. She is also a member of the Music Critics Association of North America (MCANA).

Her work covers a wide range of opera performances and festivals in NYC and Europe, including Bayreuth Baroque Opera Festival, Beth Morrison Projects PROTOTYPE Festival, Brooklyn Art Song Society, Canada’s National Arts Centre Orchestra, Carnegie Hall, Columbia University, Death of Classical (NYC), Glyndebourne Opera Festival (U.K.), Göteborg Opera (Sweden), Guggenheim Museum’s Works & Process Series (NYC), Innsbruck Early Music Festival (Austria), Japan Society, La Mama, Les Talens Lyriques, Lincoln Center Theater, Macerata Opera Festival (Sferisterio Arena, Italy), Manhattan School of Music, Metropolitan Opera, MetLiveArts, National Sawdust, Orange Mountain Music (Philip Glass works), Roulette Intermedium (Robert Ashley works), Santa Fe Opera, Sofia Opera & Ballet (Bulgaria), Teatro alla Scala, Teatro La Fenice, The Frick Collection (NYC), The Juilliard School, United Nations (NYC), Versailles Royal Opera Orchestra, and Whitney Museum.

Alan Neilson has been with OperaWire since 2017 and has been a major fixture in providing reviews and interviews throughout Europe, with an emphasis on Italian opera houses as well as such festivals as the Wexford Festival and the Innsbruck Early Music Festival, among others.

Originally a graduate in Economics, he went on to study a further degree in Opera Studies, qualifying with First Class Honours.

Mike Hardy is a Royal Television Society award-nominated investigative journalist who has worked in the British television and print media industries for over 25 years.

His passion for opera is very much embedded and reflected in the ethos of OperaWire insomuch that he likes to focus on the amazing people who continue to bring this incredible art form to life for the public’s consumption.

He divides his time as a journalist with helping to run a martial arts academy in the South East UK.

John David Vandevert is a Ph.D. candidate at Uppsala University in Sweden where he studies Russian rap from the 1990s and the process of national identity creation. He has been with OperaWire since 2020 and has reviewed opera and classical concerts in the United States and the United Kingdom. John contributes regularly to OperaWire, primarily with his monthly article about opera’s relationship with film, cinema, and the moving picture.

Gordon Kalton Williams is an Australian-born librettist. Currently in Sydney, he has also been “OperaWire”‘s Los Angeles reviewer. Among his credits are the epic, “Journey to Horseshoe Bend” (with composer, Andrew Schultz) and new dialogue for the Sydney Symphony Orchestra’s revival of Australia’s first opera, 1847’s “Don John of Austria”.

Christina Waters is a fifth generation Californian with a PhD in Philosophy and 20 years teaching experience at UCSanta Cruz. A Bay Area journalist specializing in art, food, wine, and literature, she is a music and theater reviewer for Metro Newspapers. Author of the memoir Inside the Flame, Waters has written a trio of murder mysteries set in the worlds of opera, genetic engineering, and academia. She lives, writes, and paints in Santa Cruz, California. christinawaters.com

A.J. Goldmann is an American writer and critic based in Munich and Berlin. He is a longtime contributor to The Wall Street Journal, The New York Times and The Forward. Between 2007 and 2023, when it folded, he was the Berlin, Vienna and Salzburg correspondent for Opera News Magazine.

Sophia Lambton is a longtime classical music critic and novelist based in London. Her twelve-years-in-the-making biography of Maria Callas – The Callas Imprint: A Centennial Biography – won 2024’s Association of Recorded Sound Collection Awards in the category Best Historical Research in Recorded Classical Music.  You can read OperaWire’s review of it here.

She is also the author of literary fiction saga The Crooked Little Pieces.

Read more of her classical music reviews at sophialambton.substack.com.

Matt Costello’s work — across all media — has meshed story, gameplay and technology.

Christopher Ruel started with OperaWire in 2018 and has profiled artists such as Kathryn Lewek, Erin Morley, Stephen Costello, Christine Goerke, Susan Graham, and Zachary James. His work also includes stage reviews and general news.

Logan Martell has been with OperaWire since 2017. He initially started off covering the general news, but is now focused on reviews and interviews in New York City.