Legendary bass-baritone José van Dam died on Feb. 17, 2026 at the age of 85. The news was announced by The Queen Elisabeth Music Chapel in a statement that said, “Belgium loses its greatest ambassador of lyric art; the world loses a legend whose genius shaped the operatic history of the 20th and 21st centuries. But above all, the Music {…}
This week audiences will get to experience classic recordings as well as some new solo recitals and complete recordings of rarely performed operas. AMASS GRAMMY-nominated conductor Eugene Rogers brings to life Jocelyn Hagen’s setting of the Roman Catholic Mass in AMASS. This work stands apart from the Mass settings of other composers who have practiced this centuries-old genre, including Johann {…}
As the performing arts industry struggles due to the ongoing Covid-19 pandemic, Belgian bass-baritone Jose van Dam has launched a solidarity campaign to raise funds for artists affected by the widespread theater closure. The campaign comes in partnership with the Union des Artistes du Spectacle in Brussels, with a checking account set up to receive contributions meant for expenses such {…}
José van Dam is one of the most talented bass-baritones of the 20th century. Born on August 25, 1940, in Belgium, his greatness was apparent from a very early age. He was admitted into the Brussels Royal Conservatory at 17, from which he graduated just a year later. At 21, he continued his prodigious ways, making his opera debut as {…}
Wagner’s first masterpiece “Der Fliegende Holländer” returns to the Metropolitan Opera on Tuesday, April 25 after a seven-year absence. Despite being well-known throughout the opera world, “The Flying Dutchman,” as translated in English, has had a rather interesting history at the Met marked by long hiatuses. The opera opened the 1889-1890 season in its first-ever performance. The cast that included {…}
Verdi’s “Don Carlo” makes its return to La Scala for the first time in decades in its five act version. For many this is the best version of the opera, but the bottom line is that there is no such thing as a real version of the opera with differing versions having different strengths. The work premiered in 1867. Heavy {…}
