Don't miss: the 2nd annual New York Opera Fest

Interview

"New York is a magnet for talented and ambitious people, and we are seeing the benefits of the flowering of civic opera companies in the 60's onward who exposed people at a very young age to opera, and who are now grown up and want to participate and create. We are also seeing the benefits of our more connected industry."

5 opera crossovers we're dying to see

Humour

The combination of his belching, singing, and loud drunken soliloquies is enough to wake up the grouchy Fafner, a dragon who values his sleep. Surprisingly, Falstaff's jolly demeanour diffuses the usual rage that Fafner feels upon being woken up; the dragon takes the knight up on his offer for more wine, and the two get along famously.

There's a new Klingon opera in the works

Humour

It's true! If you're a fan of Star Trek, you're well aware of the Klingon culture's appreciation for opera. 'u', the so-called "First authentic Klingon opera on Earth" by Eef van Breen, Kees Ligtelijn, and Marc Okrand, was put up in 2010 in The Hague to sold-out crowds.

Don't you deserve a little Spotlight?

Editorial

We have an ongoing list of artists to keep an eye on, and we want your help in expanding that list. So, if you know an artist who deserves a little spotlight, let us know! Call them out in the comments, or get in touch directly at [email protected].

In review: Kitty Whately & Joseph Middleton at Wigmore Hall

Review

But from Whately's performance, you would never know the extenuating circumstances at play. Her demeanor was calm and elegant, her expression was engaged, and we felt like we were watching someone who just revels in the joy of singing. Together with pianist Joseph Middleton, the two acted as painters together, showing us beautiful scenes in a program inspired by themes of nature.

Familiar stories: A Wedding Reception (gone wrong)

Review

As we finally met the newlyweds, Will & Kate, what stayed funny was the familiarity of the entire scene. The stereotypes were well-chosen, and they allowed the diners some common ground for conversation with their table-mates. The short interactions at the top of the show between "guests" and actors continued to pay off; the audience felt connected and in-the-know with this weird family, freeing them to shout out their two cents at the goings-on. ("What a twat," was one oft-proclaimed phrase from our table.)

5 reasons to get your drama fix from oratorio

Editorial

Leave it to Krzysztof Penderecki, the Polish composer known for writing terrifying music, to bring to life every detail of the Passion according to the Gospel St. Luke. His St. Luke Passion is an eerie, uncomfortable, atonal setting; it's scored for three choruses, a boys chorus, three soloists, a narrator, and a huge orchestra that includes odd instruments like saxophones, vibraphones, and a harmonium.

In review: Carmen at Nashville Opera

Review

The story is all too familiar: girl meets boy, girl loves boy, when girl changes her mind...boy goes bananas. Carmen is a complicated role that requires both vocal dexterity and superior interpretive choices. Fortunately for us, Nashville Opera's Carmen, Ginger Costa-Jackson, goes above and beyond those requirements. Ms. Costa-Jackson, a native of Italy who has made a name for herself singing the titular role, was enchanting as Carmen.

Jenna's list: the year's Top 10 of London

Editorial

Well, it's been just over a year since I started running wildly around London, trying not to miss any of the city's endless operatic offerings. On top of the many, many shows, I'll miss the charming little ice creams at intermission (sorry, interval), and the weird named for different seating sections (what the hell are the stalls), and of course, the sheer quantity of things to see and hear all year long.

In review times two: Ensemble Prisma Wien & Bernarda Fink

Review

Ensemble Prisma Wien's debut concert at Wigmore Hall was a successful combination of excellent artists, and the kind of music that seems to flow organically from the group's dynamic. The Ensemble gave us music by Haydn, Schubert and Dvořák, all effortless melodists whose tunes feel as though they've always existed.