Mid Wales Opera (MWO) will showcase Leonard Bernstein’s “Trouble in Tahiti” this fall as part of its SmallStages tour. The opera will run from Nov. 7 through Dec. 5, 2025, and stars Samantha Price as Dinah and Samuel Pantcheff as Sam, alongside Kirsty McLean, Sam Marston, and John Ieuan Jones as the jazz trio. Richard Studer directs and designs, with {…}
Des Moines Metro Opera (DMMO) has announced a month-long broadcasting schedule in partnership with Iowa PBS and Iowa Public Radio. The initiative will allow audiences in Iowa and beyond to revisit performances from the company’s 2024 Festival Season, as well as its 2025 production of Janáček’s “The Cunning Little Vixen.” As part of the company’s ongoing partnership with Iowa PBS, {…}
Beijing-based classical music company Kuke Music Holding Limited has acquired a controlling interest in Naxos Music Group. The agreement, valued at just over $106 million, gives Kuke a majority share (per The Violin Channel, around 70.43 percent) and marks a major shift in the international classical music landscape. Founded in 1987 by Klaus Heymann, Naxos has long been admired for {…}
Music at Co-Cath (MACC) has announced its 2025–26 season under the theme “Light in the Shadows: Choral Journeys of Hope and Renewal.” “Our season asks audiences to travel with us through darkness into light,” said Artistic Director Alejandro Zuleta per an official press release. “With works that span centuries, from Victoria to Shaw, we’re building moments of awe and intimacy {…}
(Credit: ©SarahHickson-kopie) The 2025 International Vocal Competition ‘s-Hertogenbosch (IVC) announced its 2025 winners. Taking home first Prize – Van Riemsdijk Theatre in Song Prize (€10,000), provided by the Truus and Gerrit van Riemsdijk Foundation, was soprano Laure-Catherine Beyers (Belgium) and pianist Ana Ostojić (Serbia). Coming in second and earning the Staetshuys Fund Prize (€7,500) were Madeline Saputra (Indonesia) and pianist/violinist {…}
(Image source: April Fredrick official website) The English Symphony Orchestra has announced its Cheltenham Residency season. There are five performances in total, but the second one, set for Dec. 2, 2025, features a chamber arrangement of Strauss’ “Four Last Songs” by James Ledger, coupled with a chamber version of Mahler’s Ninth Symphony. The soprano soloist for the program is April {…}
Toledo Opera is teaming up with the Toledo Museum of Art (TMA) to present two free LocalEyes tours on Saturday, Oct. 4, 2025, at 1:30 p.m. and 2:45 p.m. at the museum. The program coincides with Toledo Opera’s upcoming production of Bizet’s “Carmen.” Each LocalEyes tour pairs a TMA docent with a guest curator—an artist, professor, musician, or community member—who {…}
Verdi lovers around New York City will join forces on Friday, Oct. 10, with a public celebration at Verdi Square, located at Broadway and 73rd Street. Admirers of the legendary composer are invited to gather at 10:15 a.m., with the ceremony beginning promptly at 10:30 a.m. The event is free and open to all. The commemoration offers a chance to {…}
On Oct. 5, Ramon Vargas is set to return to Mexico to perform at the Festival CulturaUNAM. The tenor will perform at the Sala Nezahualcóyotl alongside pianist Ángel Rodríguez. The program will include Napolitan songs and Italian songs by Ernesto Tagliaferri, Jimmy Fontana, and Evemero Nardella. He will also sing Mexican songs by Maria Grever and Agustín Lara. In a statement, {…}
Garsington Opera has announced that Ben Weston will become its next Executive Director. He will take over on Nov. 10, 2025, succeeding Nicky Creed, who was at the helm as Executive Director since 2013 after 14 years as Associate Director. Creed will work with Weston over the next few months to ensure a smooth transition. Weston’s career includes award-winning live {…}
The Franco Zeffirelli production of “Turandot” at the Metropolitan Opera is iconic and a known quantity at this juncture, so I won’t be rehashing much about it here. But in watching the Sept. 30, 2025 performance of the Puccini opera, I was reminded about its enduring power. Part of that mainly came from the audience with whom I witnessed the {…}
