The New Year is upon us, which means it’s time to look back and reflect at what was and what will remain in our memories. As per usual, OperaWire has compiled the favorite performances of the year from many of our contributors. We won’t keep you waiting, here’s a look at the Staff Picks for the best performances of 2025. {…}
I was a bit skeptical that the theme of Robert Johnson’s life, the man who created the blues and the basis for rock and roll, would be a subject which lent itself to an opera. How wrong I was! The Faustian idea of selling one’s soul to the Devil in exchange for music immortality is a natural for an opera. {…}
The Rossini in Wildbad has announced its 2026 season which is set to take place between July 22 and August 2, 2026. Weckerlin’s “Le mariage en poste” will get its modern premiere. Performance Dates: July 22-August 1, 2026 The company will present “L’occasione fa il ladro” with Music Director Antonino Fogliani conducting. Performance Dates: July 24-August 2, 2026 “La gazza {…}
Jonathon Heyward has joined the roster of Askonas Holt for worldwide general management. Heyward will be managed at Askonas Holt by Henry Lindsay and Jemima Pickersgill. The conductor is the Music Director of the Baltimore Symphony Orchestra and this season the orchestra announced his contract extension until 2030-31. He is also the Artistic and Music Director with the Festival Orchestra {…}
Riccardo Chailly will conduct the next performance of “Lady Macbeth of Mtsensk” at the Teatro alla Scala. The theater confirmed the news stating, “Teatro alla Scala is pleased to announce that Maestro Riccardo Chailly’s health has improved and he will be able to conduct the performance of Lady Macbeth of the Mtsensk District on Saturday 13 December.” The statement comes {…}
The Festival Aix-En-Provence has announced its 2026 season. Opera Leonardo García-Alarcón conducts Mozart’s “Die Zauberflöte” with Clément Cogitore directing. The production will star Ying Fang, Mauro Peter, Sabine Devieilhe, Sean Michael Plumb, Brindley Sherratt, and Edwin Crossley-Mercer. Performance Dates: July 2-21, 2026 Klaus Mäkelä conducts Strauss’ “Die Frau one Schatten” in Barrie Kosky’s production. The cast will include Michael Spyres, Vida Miknevičiūtė, Nina {…}
(Image Source: Rocio Perez Official Website) Soprano Rocío Pérez joins the roster of TACT Artists Management. Emanuele Destrini and Irina Paradnaya will present the soprano. Pérez is a coloratura soprano well known for her portrayals of the Queen of the Night, Lucia di Lammermoor, Dinorah, Nannetta, Clorinda, Gilda, Olympia, Norina, Violetta, Adina, and Zerlina. She has also become recognized for {…}
Symphony.live, the global platform dedicated to high-quality classical and orchestral streaming, announced it has been acquired and will become part of Acoustics Space. Acoustics Space is a South Korean company known for its cutting-edge expertise in acoustic engineering and premium audiovisual environments. In a statement, Martha Do, General Manager of Acoustics Space said, “Symphony.live shares our passion for music streaming, {…}
The Aldeburgh Festival of Music and the Arts has announced its 2026 season which will be held between June 12 and 28, 2026. Here is a look at the vocal performances. Festival Academy Masterclass will be led by Lise Davidsen. She will coach alumni singers from the Britten Pears Young Artist Programme, each accompanied by acclaimed pianist James Baillieu. Performance {…}
Festival Napa Valley has announced the commissioning and world premiere of “The Judgment of Paris,” a new one-act opera by acclaimed composer Jake Heggie and librettist Gene Scheer. The work will debut on July 18, 2026, on the Festival Napa Valley Stage at Charles Krug Winery, as part of Festival Napa Valley’s landmark 20th Anniversary Season. It will mark the {…}
(Photo: Andrea Butti / OperaLombardia) Although “I Puritani” is an Italian opera through and through, it was conceived in Paris, at the height of the grand opéra tradition. Bellini studied Meyerbeer and Halévy in great detail, noting in his personal papers certain orchestral “effects” he wished to emulate and others he intended to avoid. As a result, the score, especially {…}