The girls are back in town
Anita Rachvelishvili and Saioa Hernandez are headed back to New York and this week’s Grand Tier Grab Bag features them together in a performance from July.
Anita Rachvelishvili and Saioa Hernandez are headed back to New York and this week’s Grand Tier Grab Bag features them together in a performance from July.
Our critic reports on the bumper crop of young singers at this year’s Giargiari Bel Canto Competition in Philadelphia.
Mitridate, re di Ponto at the Teatro di San Carlo showcases some energetic performances — and some unfortunate stage busyness.
Who knew that Giulietta Simionato was so excellent in the Rossini coloratura repertoire?
Lorraine Hunt Lieberson’s performance of “As with rosy steps the morn” from Handel’s Theodora is a masterclass in the confidence to simply hold space.
Beatrice Venezi may have been exiled to Siberia, but Stacy Jarvis argues that opera’s combination of global economics and local judgments mean that no artist is truly cancelable.
Seeing and hearing Lorraine Hunt Lieberson sing Didon at the Met was one of the greatest performances in my many years of opera going.
Two experiments in opera — Opera Philadelphia‘s Complications in Sue and Heartbeat Opera‘s MANON! — receive worthy recordings.
One mezzo I have always enjoyed was Elena Obraztsova.
Less than two weeks remain to submit to this fall’s The Talk of the Town!
Thea Musgrave’s Mary, Queen of Scots could learn to lighten up.
I’ve been an Elena Obraztsova superfan since I was 16.
Louise Alder enchants in the comically-inclined revival of Claus Guth’s production of Semele at the Bayerische Staatsoper.
Brigitte Fassbaender tears through the role like no other.
Iwona Sobotka, a favorite of Riccardo Muti, is this week’s featured Grand Tier Grab Bag artist
Most stunning mezzo performance in the premiere of an opera at the Met.
Amartuvshin Enkhbat is superb in Verdi’s Simon Boccanegra in San Francisco — even if the drama offstage is more persuasive than this new production.
Richard Lynn muses on whether the Met can make good on its exciting new promise of “Opera For All” while the goals of its $1.5 billion fundraising campaign remain murky.
Tenet Vocal Artists‘s first-ever opera production, of Monteverdi’s Orfeo, soars to Platonic ideals.
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