Il Trovatore at Arizona Opera

Giuseppe Verdi and his librettist, Salvatore Cammarano, based the opera on Antonio GarcÌa GutiÈrrez’s Spanish play El Trovador.

Barber by ENO

ENO’s advertising emphasises the ‘25th anniversary year’ of Jonathan Miller’s staging of The Barber of Seville. It holds the stage well enough without offering any especial insight — at least by now.

An Interview with Virginia Zeani

Palm Beach audiences are famous for their glamour, but in recent years a special star has sparkled amid the jewels, sequins, feathers and furs (whatever the weather).

Tosca, Royal Opera

Puccini’s “shabby little shocker”, to quote Kerman, does not invite subtlety. For those who feel that opera — a hybrid art form encompassing all the arts and embracing all of life and love, transfiguration and tragedy — is ideally suited to depicting the excesses of human ecstasy and suffering, Tosca epitomises the immoderations of the genre.

Bernarda Fink and the Italian Baroque

Argentinean mezzo-soprano Bernarda Fink continued her series residency at the Wigmore Hall with an unusual programme of Italian baroque works, partnered by the Academy of Ancient Music, led by violinist Rodolfo Richter.

Bel Canto Queen Jessica Pratt

When the soprano Jessica Pratt first arrived in Italy, she had yet to learn the language or sing in a staged opera.

Samson and Delilah, San Diego Opera

Samson and Delilah is the only opera by Camille Saint-Saens that is
still regularly performed. He had written two previous operas and would write
several more, along with a long list of instrumental pieces including The
Carnival of the Animals
.

James Conlon Renews Contract with LA Opera

On Wednesday evening, February 20, Los Angeles Opera gave a press conference at the Dorothy Chandler Pavilion featuring Music Director James Conlon.

Eugene Onegin, Royal Opera

When opera companies arrange their seasonal schedules, one wonders how much
thought they give to Valentine’s Day. If it falls in the midweek, it is potentially a very propitious day for getting people out: that is, if the opera is right.

Rigoletto at the Met

Michael Mayer’s glitzy neon lights production, set in Rat Pack-era Sin City, proves a fitting backdrop for an opera about a curse