Opera Southwest is set to present Brahms’ “Ein deutsches Requiem” in Spanish translation on Sunday, March 15 at the National Hispanic Cultural Center’s Journal Theatre. Conductor Enrico Fagone, making his debut with both Opera Southwest and the New Mexico Symphonic Chorus, will lead the performance and soloists that include Brian James Myer and Laura León, both veterans of the company’s {…}
Nashville Symphony Orchestra has appointed Leonard Slatkin as its Music Director. Slatkin will assume his position for three years through the 2028-29 season and will begin his tenure at the beginning of the 2026-27 season. Slatkin was previously the orchestra’s Music Advisor from 2006 to 2009. As Music Director, Slatkin will provide artistic leadership and help establish the framework for {…}
The Pittsburgh Symphony Orchestra has announced its 2026-27 season. Here is a look at the two vocal performances. Manfred Honeck conducts Hindemith’s “Mathis der Maler,” Beethoven’s “Mass in C Major” and Arvo Pärt’s “Fratres.” Soloists include Jeanine De Bique, Julie Boulianne, John Matthew Myers, and Alexander Birch Elliot. The concert also features the Mendelssohn Choir of Pittsburgh. Performance Dates: Dec. {…}
New details have been revealed regarding the Washington National Opera’s departure from the John F. Kennedy Center for the Performing Arts. In a new report from the Washington Post, it has been revealed that Artistic Director Francesca Zambello’s Guardian interview, in which she first suggested the possibility of leaving the Kennedy Center, was what set the company in motion to {…}
(Credit: Pablo Strong) Tenor Dafydd Jones has joined Keynote Artist for worldwide general management. He is a member of the Bayerische Staatsoper Opernstudio and is set to perform Der Verteidiger in “Der Englische Katze,” Gefangenerin “Fidelio,” and Dritter Knappe in “Parsifal.” This summer he is set to perform with the Garsington Opera as Telemaco in John Caird’s production of Monteverdi’s {…}
(Photo: Baptiste Lacaze) Lully’s “Atys” is said to have been Louis XIV’s favorite opera. Using a libretto by Philippe Quinault (1635-1688), “Atys” is based on the story of Attis from Ovid’s “Metamorphoses.” In the original story, Atys/Attis is a handsome Phrygian youth beloved by the goddess Cybèle. She demands his absolute fidelity but he betrays her with a nymph. As {…}
Michele Cerullo has joined the roster of Zelaya Artists for worldwide representation. Cerullo is a young Italian tenor who has already perform such roles as the Duca di Mantova in “Rigoletto,” Riccardo in “Un Ballo in Maschera,” Edgardo in “Lucia di Lamermoor” and Rodolfo in “La Bohème.” He has performed at such theater as the Teatro San Carlo di Napoli, {…}
(Photo Credit: Jo Schramm) Operatic depictions of cruelty, vengeance, wrath, mercilessness, wickedness, barbarism, savagery, and anger seem hallmark elements of the genre itself. From villains like Queen of the Night, Lady Macbeth, and Don Giovanni to ghastly characters like Elektra, Scarpia, Iago, Mefistofele, and Caesar, all the way to troubled souls like Wotan, Giorgio Germont, Turandot, Poulenc’s Chaplain, Anna Bolena, {…}
On Feb. 8, Bad Bunny gave his long awaited Super Bowl Half Time Show filled with dance, theater, different musical styles and surprises. Lady Gaga and Ricky Martin were the surprises with the highest profile that made huge impressions as were were cameos from the likes of Karol G, Cardi B and Pedro Pascal. But even classical music got a {…}
The Grange Festival has announced an additional performance of Tchaikovsky’s “Eugene Onegin” on June 30, responding to exceptional demand during its member pre-sale and first day of public booking. Opening day sales for the 2026 season surpassed all previous records, registering 43 percent above the prior year’s figures, which had themselves set a benchmark. The new “Eugene Onegin” production is {…}
Lisette Oropesa made history during the Feb. 10, 2026 performance of “I Masnadieri” at the Teatro Real. Following her cabaletta “Carlo vive? O caro accento, melodia di paradiso,” the soprano received a rousing ovation that led to an encore of the aria. The moment marks the third time the soprano gives an encore in an opera at the Teatro Real. {…}
