Don't miss: Kaufmann at the movies

Review

Kaufmann, in a terribly cute red convertible and colourful shoes, takes a tour along the Italian coastlines. The German tenor tells stories of his childhood visits to Italy with his family, and connects his life in opera - Italian and otherwise - with the culture and lifestyle he grew to love.

Don't miss: Tête à Tête's 10th annual Opera Festival

Interview

"It's been a fantastic year to put together. The overbearing sense I have is artists with a burning desire to react to the very troubling political goings-on happening around us, so much about refugees, immigration, Trump and Brexit even. Which confirms the sense I've always had, that as well as programmes planned 3, 4, 5 years ahead, we also need somewhere for people to tackle their idea on a short timescale."

"How lucky are we, the children of opera?"

Interview

"When she was under 10 I would leave notes with little gifts for her to open and would call frequently. As she got older, these calls became more like interruptions to her and it was obvious that less was more. My husband [and stage director] Michael Cavanagh (her step father since age 3) was also travelling a lot so her normal was parentals coming and going."

Talking with composers: Andrew Staniland

Interview

"There is nothing like the feeling of music that appears to write itself. It is a total rush – like the whole earth is vibrating just right to make the sounds, totally in the moment. However, in my experience, these moments are made possible only by nurturing a deep discipline."

Don't miss: ID, Please

Interview

"I hope the music takes us through many of the emotions experienced by those crossing borders: fear, hope, suspicion, regret, anger, boredom, alienation and joy. We see glimpses into the lives of many passengers played by two singers and yet we never really find out what happens to them; whether they make it across the border or are stuck in the perjury of border control forever."

Gordon Gerrard: "Music doesn't really work without breath."

Interview

"My job is to get the orchestra to support how the singer wants the piece to go. My favourite singers are the ones who bring convincing ideas of the shapes they want to make in the music. If communication lines are open, I can act as the link between them and the players in the orchestra."

Talking with composers: Brian Harman

Interview

"To get some ideas flowing, I need time and space to think and explore. I have a notebook of ideas that I return to, which can help, but the idea needs to feel fresh and relevant to my current work and life. Even if it's challenging, this creative exploration is a really enjoyable part of composing for me."

Stop shaming Adele

Op-Ed

We can do better. We can espouse and proclaim the value of vocal health, technique, and efficiency, while recognizing with great respect and awe the beauty in non-traditional voices, and overcoming the professional and territorial myopia that threatens to rob us of our innate desire to hear the gift of a great voice raised in song.

Surprising practice tips: 4 arias to try too fast

How-to

Music that's meant to be slow can come with side effects like heaviness and stagnancy, which make the singing process unnecessarily difficult. Often the easiest way to find an aria's shape - and uncover some decent phrases - is to practice it at a metronome marking that's decidedly too fast.

Talking with composers: Kieren MacMillan

Interview

"I think people believe I can punch in at 9AM, and by 5PM I'll have written a few minutes of music I'm proud to send out the door. There are lots of composers who can, of course — I truly wish I were one of them, but it can take me hours or even days to get out of one mindset and into 'the zone' of music composition."