Q & A: Francesca Aspromonte On Her New CD & Her New Role As Professor of Baroque Singing

https://operawire.com/q-a-francesca-aspromonte-on-her-new-cd-her-new-role-as-professor-of-baroque-singing/

(Photo: Nicola Dal Maso, RibaltaLuce Studio) Back in 2018 OperaWire interviewed Italian soprano and baroque specialist Francesca Aspromonte to talk to her about her newly released CD “Maria & Maddalena,” her love for the baroque repertoire and her desire to expand her repertoire into other areas. Since then she has gone on to cement her reputation with a string of {…}

Interviews, Stage Spotlight

Q & A: Soprano Marie Lys On Her Background, Singing Competitions, ‘Argippo’ & Future Plans

https://operawire.com/q-a-soprano-marie-lys-on-her-background-singing-competitions-argippo-future-plans/

In 2016, while still studying at the Royal College of Music in London, Swiss soprano Marie Lys was offered the role of Asteria in Buxton Festival’s production of “Tamerlano.” Although it was her first professional stage performance she gave a noteworthy presentation, with critics applauding her “impressive range,” “sweet singing” and “appealing, flexible tone.” Since then her career has been {…}

Interviews, Stage Spotlight

Q & A: Sara-Maria Saalmann on Her Love of Singing & Managing a Successful Career in the Competitive World Of Opera

https://operawire.com/q-a-sara-maria-saalmann-on-her-love-of-singing-managing-a-successful-career-in-the-competitive-world-of-opera/

(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 {…}

Reviews, Stage Reviews

Regensburg 2019-20 Review: La Fida Ninfa

https://operawire.com/regensburg-2019-20-review-la-fida-ninfa/

(Photo: J.Quast) Theater Regensburg’s new production of Vivaldi’s “La Fida Ninfa” was a bold, ambitious, and possibly even reckless, decision for a provincial opera company with a non-specialist baroque orchestra, and a group of singers who, with one or two exceptions, have limited experience in singing baroque opera. Yet, it is illustrative of the extent to which Vivaldi’s operas are {…}

Special Features

Best of 2019 – OperaWire’s Staff on the Best Performances of the Year

https://operawire.com/best-of-2019-operawires-staff-on-the-best-performances-of-the-year/

(Credit: Marty Sohl/Karen Almond-Metropolitan Opera/Ken Howard-Santa Fe Opera/ Gianfranco Rota-Donizetti Opera) We hope that the end of your 2019 is a prosperous one and that the start of 2020 is even better. As we look forward to the next calendar year, we are taking some time to reflect on the opera performances that defined 2019 for many of us. As {…}

Interviews, Stage Spotlight

Q & A: Arianna Vendittelli On The Importance & Challenges Of Singing ‘Ermione,’ Interpretation & Career Development

https://operawire.com/q-a-arianna-vendittelli-on-the-importance-challenges-of-singing-ermione-interpretation-career-development/

Arianna Vendittelli’s career is one that most singers would dream of. She has an established reputation in the Mozart, Rossini and baroque repertoire, singing at the highest level in such roles as roles such as Fiordiligi, Zerlina, Cleopatra, Serse, Eurydice and many more. Moreover, she has been guided by such venerated artists as Ottavio Dantone, Riccardo Muti and Alessandro De {…}

Special Features

Best of 2018: OperaWire Staff Picks Most Memorable Opera Performances Of the Year

https://operawire.com/best-of-2018-operawire-staff-picks-most-memorable-opera-performances-of-the-year/

Yes, it’s that time of the year where we wax poetic about transformative experiences we have had over the course of the last 300 or so days. Sometimes we curate these experiences as rankings to fuel some individual emotions, and at other moments we simply do what we are doing with this piece – let a few different people chip {…}

Special Features

Analysis: The Standouts From the Pietro Antonio Cesti International Singing Competition For Baroque Opera

https://operawire.com/analysis-the-standouts-from-the-piero-antonio-cesti-international-singing-competition-for-baroque-opera/

The winner of this year’s “Pietro Antonio Cesti” International Singing Competion for Baroque Opera was won by the 30-year-old, Swiss soprano, Marie Lys. Established in 2010 by Alessandro De Marchi, the incumbent artistic director of the Innsbruck Festival for Early Music, the competition has become an integral part of the festival, and certainly one of the most important singing competitions {…}

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Q & A: Francesca Aspromonte On Her New CD & Her New Role As Professor of Baroque Singing

Q & A: Soprano Marie Lys On Her Background, Singing Competitions, ‘Argippo’ & Future Plans

Q & A: Sara-Maria Saalmann on Her Love of Singing & Managing a Successful Career in the Competitive World Of Opera

Regensburg 2019-20 Review: La Fida Ninfa

Best of 2019 – OperaWire’s Staff on the Best Performances of the Year

Q & A: Arianna Vendittelli On The Importance & Challenges Of Singing ‘Ermione,’ Interpretation & Career Development

Best of 2018: OperaWire Staff Picks Most Memorable Opera Performances Of the Year

Analysis: The Standouts From the Pietro Antonio Cesti International Singing Competition For Baroque Opera