https://operawire.com/audrey-luna-makes-metropolitan-opera-history/
Audrey Luna has broken a Metropolitan Opera record. According to the New York Times, the soprano gets to hit the highest note recorded in the Metropolitan Opera’s history. The note in question is an A natural above the High C at the beginning of Thomas Adès’ “The Exterminating Angel.” The note is the first sound that Luna has to sing {…}
https://operawire.com/qa-brian-mulligan-on-his-debut-solo-album-and-collaborating-in-the-studio/
American baritone Brian Mulligan has become sought out by the world’s leading opera houses and orchestras, singing a unique variety of repertoire from works by Argento, Meyerbeer, Puccini, Spears, Verdi and Wagner. Throughout the past few years, Mulligan has appeared at the San Francisco Opera, Wiener Staatsoper, the Metropolitan Opera, Opernhaus Zürich, Lyric Opera of Chicago, Houston Grand Opera and Oper {…}
https://operawire.com/west-edge-opera-2017-review-hamlet-solid-singing-cant-overcome-operas-dramatic-deficiencies/
Of course, it is impossible – to rewrite, even for opera, Shakespeare’s masterpiece. It is untouchable, even if the Bard wouldn’t have sized up the various Folios and Quartos and come up with a right-as-rain manuscript. But, for Ambroise Thomas, in 19th century France, (1868) to tackle the probing young man and make him sing for his supper – well, {…}
https://operawire.com/verbier-festival-2017-review-salome-charles-dutoit-leads-a-robust-cast-in-must-watch-live-stream/
One of the great delights of today’s viewer technology is sitting in your living room, a cup of chocolate in your hand, and, before you, a vibrant, young orchestra, a brilliant and famous conductor, and a dozen notable first-class singers embarked in a world of eroticism with genius music – in other words, “Salome.” Thanks to Medici TV’s ample coverage {…}
https://operawire.com/q-a-fathom-events-ceo-john-rubey-on-bringing-the-metropolitan-operas-live-in-hd-series-to-life/
One of the greatest achievements of general manager Peter Gelb’s tenure is his Live in HD series, which has enabled audiences from around the world to experience opera in movie theaters. That undertaking has generated a tremendous following that has resulted in home video releases and encore performances, which are slated to take over coming weeks around the world. With {…}
https://operawire.com/qa-artistic-director-john-nardolillo-on-working-with-young-singers-mozart-at-prague-summer-nights/
The Prague Summer Nights is underway and OperaWire will be providing extensive coverage of the showcase. Produced by Classical Movements, the festival seeks to promote young artists with John Nardilillo as its artistic director and conductor. Nardolillo has appeared with numerous orchestras including the Seattle, San Francisco, Detroit, Atlanta, Dallas, National, Utah, Columbus, Oregon, Fort Worth, Alabama, North Carolina, Toledo, Vermont {…}
https://operawire.com/royal-opera-house-review-2016-17-otello-jonas-kaufmann-cements-his-legacy-as-one-of-historys-great-otellos/
Jonas Kaufmann has been hailed as the greatest tenors alive and is one of the most exciting performers currently working today. So it was no surprise that he would one day take the iconic role of Verdi’s “Otello.” There were many doubters regarding his availability (or ability) to master the role, especially after many high-profile cancellations due to illness. However, {…}
https://operawire.com/pride-month-2017-a-look-at-the-lgbt-operas-in-history/
June marks the start of Pride Month, a month dedicated to commemorating the Stonewall riots, which occurred at the end of June 1969. As a result, many pride events occur to honor the achievements of LGBT individuals. This month OperaWire will also dedicate a section to honoring LGBT individuals, operas, and achievements. It is our goal to bring visibility to works that {…}
https://operawire.com/metropolitan-opera-2016-17-review-la-traviata-carmen-giannatassio-placido-domingo-atala-ayan-give-legendary-performance-as-willy-deckers-sublime-production-says-goodbye/
Friday night at the Metropolitan Opera was the last time that audiences would get a chance to see Willy Decker’s production of Verdi’s “La Traviata.” The powerful vision that first came to see the light of the world in Salzburg over 10 years ago is in and of itself a long goodbye, an intricate look at how a woman says {…}
