Katarina KarnÈus, Wigmore Hall

In Britain, Katarina KarnÈus is closely associated with Grieg and Sibelius. Indeed, her career has almost been defined by her recordings of their songs for Hyperion.

Le Comte Ory, Metropolitan Opera

Rossini’s penultimate stage work, Le Comte Ory, belongs to
the tradition of sexy scoundrel operas, along with such works as Don
Giovanni
, Zampa, Fra Diavolo, Barbe-Bleu,
Les Brigands and Threepenny Opera.

Sarasota Opera Winter Festival 2011

Opera is alive and well in Sarasota. “It feels like it did before,” says Communications Officer for Sarasota Opera Patricia Horwell.

Aida, London

Strict courtly hierarchies and the repressed formality of ritual juxtaposed
with violent sexual jealousy and lurid erotic excess … a stage-world
more suited to the Straussian insalubrity of SalomÈ than to the epic
grandeur of Verdi’s Aida, perhaps?

L’Africaine, OONY

EugËne Scribe and Giacomo Meyerbeer were in the business of creating
proto-cinematic spectacles of drama and music, the formula being to take a historical incident in some exotic country or era, put in a tormented love story to hold our attention, and resolve the whole in catastrophe.

Anna Nicole, London

From the sublime (Parsifal, the night before) to the not-even-ridiculous.

Nixon in China, New York

Preparing for the Met premier of Nixon in China, I resolved to
forget—or place on hold—everything I remembered, or thought I
remembered, about the real persons who are characters in this opera,

Elizabeth Futral — An Interview

Elizabeth Futral has established herself as one of the major coloratura sopranos in the world today. With her stunning vocalism and vast dramatic range, she has embraced a diverse repertoire that includes Vivaldi, Handel, Mozart, Bellini, Donizetti, Rossini, Verdi, Glass, and Previn.

Tosca, Metropolitan Opera

They have been fiddling with Luc Bondy’s staging of Tosca. Scarpia doesn’t masturbate on the Madonna; he just sort of pinches her erotically.

PellÈas et MÈlisande, New York

PellÈas et MÈlisande, Debussy’s impressionist drama closely
based on Maeterlinck’s eerie, symbolist play, is not a terribly vocal opera; it calls more for the subtlety of art song style than the belting of great divas and divos.