Opera Meets Film: How ‘The Cold Song’ From Purcell’s ‘King Arthur’ Provides Emotional Depth in Maurice Pialat’s ‘A Nos Amours’

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a film section or a film in its entirety and highlight {…}

Sarai Elizabeth Cole & Rebecca L. Hargrove Discuss the Black Community’s Love-Hate Relationship With ‘Porgy and Bess’

***Editorial Note: This article has been modified from its original version. (Credit: Ken Howard / Metropolitan Opera) “Porgy and Bess” is arguably America’s most {…}

‘Death in Venice’ (in San Francisco) – One of OperaWire’s Writers Remembers Britten Opera Production From a Unique Perspective

San Francisco’s spring opera production of “Death in Venice” in 1975 was the real deal—the ingenious novella of German writer, Thomas Mann, turned into a haunting and exquisite opera by the English composer Benjamin Britten, libretto by Mfanwy Piper. The production was created by the remarkable Gerald Freedman, a well-known  American theater and opera director, assistant not only to New {…}

Opera Meets Film: How ‘Cuties’ Uses Vivaldi’s ‘Nisi Dominus’ to Explore Conflicting Narrative & Formal Tensions in a Climactic Scene

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a film section or a film in its entirety and highlight the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Maïme {…}

Opera Quiz: Which Spanish-Language Opera Is It?

Italian. French. German. Russian. English.  These languages are at the core of opera’s standard repertory. But what many don’t know, is that Spanish-language opera {…}