Swedish soprano Nina Maria Stemme has been broadly regarded as one of the greatest living dramatic sopranos. What’s fascinating when you look at her career trajectory is seeing that the repertory for which she is best known seemed like a far cry during those early stage. She made her onstage debut in the mezzo-soprano role of Cherubino in Mozart’s opera {…}
(Credit: Columbia Artists) On Sept. 23, soprano Leah Hawkins, a member of the Lindemann Young Artist Development Program at the Metropolitan Opera, took part in the historic opening night performance of Gerswhin’s “Porgy and Bess” with the esteemed New York company. the Metropolitan Opera. While she was not one of the major headliners in a cast that feature Angel Blue, {…}
(Credit: Oleg Rostovstev) Singing a recital in New York City is a rare occasion for an artist of any caliber. So, it is understandable that when a major opera star gets a chance to perform in one of the city’s hallowed halls, their choice of repertory would truly highlight their vocal and interpretative prowess. The idea of programming a recital {…}
(Photo: Clive Barda) Anyone who was fortunate enough to attend a performance of Rossini’s one act farsa “Adina” at this year’s Wexford Festival Opera, or managed to catch the broadcast on RTE’s Lyric FM could not fail to have been enthused by mezzo-soprano Rachel Kelly’s stunning interpretation in the title role. Since impressing on the Jette Parker Young Artists Programme {…}
(Credit: Kristina Kalinina) At the beginning of the season, soprano Venera Gimadieva was forced to cancel a performance of “Francesca da Rimini” in Amsterdam. It was for the first time in her 13-year career as an opera singer that she had to take such an action and withdraw from an engagement. But the reason was simple and understandable for any {…}
(Credit: Orlando Mendiola) Once Upon a Time composer Felix Jarrar examined the life of Kiki de Montparnasse in “Tabula Rasa.” He delved into the dark depths of Edgar Allan Poe’s “House of Usher.” He brought Ebenezer Scrooge out of the darkness and into the light with “A Christmas Carol.” He examined the myth of “Apollo and Hermes.” But four operas {…}
(Credit: Simon Pauly) It all started with a fall. A fall on stage. During his first ever performance of “The King & I,” as an adolescent, bass-baritone Seth Carico entered a stage for the first time and purposely fell down the stairs as required by the direction. “When I heard all those people laughing at what I had done, I {…}
(Credit: Arielle Doneson) Hojotoho! Heiaha! When you’re at the top of the Wagnerian world singing Brünnhilde, what could possibly be next? Is there much left in the maestro’s repertoire to challenge a singer’s stamina, musicianship, and let’s face it, fortitude? It turns out that there is something, and it’s Isolde. After years of preparation, famed heldensoprano Christine Goerke is on the {…}
As a child growing up in growing up in Tel Aviv, soprano Natalia Tsvi loved to sing. She was part of the Neighbors of Chich as a teen, an ensemble with which she performed a lot of music, including classic covers and original musicals all over Israel. For tenor Gilad Paz, it was much the same. He grew up in {…}
(Credits: Charly Hel) OperaWire’s initial interview with Alagna was set to take place after his performance of “Don Carlos” in Paris. But two acts into the performance, he had to withdraw from the performance and also postpone the interview. “I’m sorry we have to postpone,” he warmly said that evening. “I’d better not use my cords today to keep it {…}
(Credit: Matthew Staver) Baritone Malcolm MacKenzie loves playing the bad guys. On his website he notes that Scarpia, the villainous police chief who sexually harasses Tosca before being murdered, is his favorite role. Another of his favorites is the conniving Iago and he was even the first man to take on the role of the vengeful Roger Chillingworth in the {…}