(Credit: Valentina Sadiul) What makes a master singing teacher? Is it someone who knows the art of singing from both sides of the curtain? Or is it someone who cultivates a singer’s natural gifts, enabling the budding artist to bring out her/his inner voice? Perhaps it is both of these. César Ulloa is Voice Department Chair at the San Francisco {…}
(Credit: Sim Canetty-Clarke) Few tenors today have the Wagnerian pedigree that Stuart Skelton has. The Australian tenor, who has taken on pretty much every major role by the master of Bayreuth, has opened major productions of Wagner’s operas around the world. In the midst of his recent production of “Die Walküre” at the Teatro Real de Madrid, Operawire had an {…}
(Credit: Candy Welz) Soprano Camila Ribero-Souza was born in São Paulo, Brazil, where she studied singing with Jocelyne Gallo, Edilson Costa, and Luiz Tenaglia. From March 2011 until January 2018, she was a member of the soloist ensemble of the Meininger Staatstheater. In February 2018, as a spinto soprano, she joined the ensemble at the Deutsches Nationaltheater Weimar, where she {…}
(photo credit: Damjan Švarc) Virgil Thomson and Gertrude Stein’s opera “The Mother of Us All” recently made a historical debut at The Met Museum in honor of Susan B. Anthony’s life and women’s suffrage movement. The production celebrates a unique collaboration between the NY Philharmonic, Juilliard, and The Met, which features some of today’s visionary young artists working in opera. {…}
(Credit: Yan Bleney) Soprano Nicole Car and Étienne Dupuis do not like to be apart. The two stars, who are currently at the Metropolitan Opera individually taking on two thirds of the Da Ponte and Mozart trilogy, not only share a home, a two-year-old boy, and as many productions as they can, but this very interview. When it was proposed {…}
Debuting at the Metropolitan Opera is a hard gig to come by, especially when it’s a principal role in a new production in an opera that’s never even been performed on the Met stage. But after a decade of singing leading roles all over the world, American soprano Brenda Rae is readier than ever to tackle New York’s biggest stage, {…}
On Feb. 5, 2020, soprano Hanna-Elisabeth Müller returned for a run of performances in this season’s production of Mozart’s “Le Nozze di Figaro” at the Metropolitan Opera. This will be her third opera with the company, after making her debut in 2017 in Beethoven’s “Fidelio” and subsequent performances of “Die Zauberflöte.” Müller came to international fame in 2014, performing the {…}
(Credit: S. Richards) The album has always been a touchstone of any musician. It is an opportunity to preserve an artistic development and legacy in a manner that enables listeners of the past and present to connect with the artist in an intimate way. In the past, major recording companies dominated the industry, proving to be the gatekeepers of which {…}
(Photo: Frank Wartenberg) Last December OperaWire reviewed an impressive production of Vivaldi’s “La Fida Ninfa” at the repertory theatre in Regensburg. In the central role of Morastro was the young German-Spanish soprano Sara-Maria Saalmann, whose performance was dramatically intense, but beautifully sung. Working for a repertory company often means a heavy and varied schedule, yet Saalmann is still keen to {…}
