Talking with directors: Jennifer Williams

Interview

"My philosophy as a director is this: that opera at its best is a place where the possible can encounter the impossible, challenging our notions of what our reality could be like. Imagination and empathy are what shift perspectives and start conversations about what our world could be like. It's a mistake to underestimate its value."

Opera 5: new faces, new show

Interview

Derventzis loves that Beaumarchais' Figaro plays - the 18th century source material of Rossini's Barber - tell stories of rich people being outwitted by society's underdogs: "a woman and a servant."

Talking with conductors: Damian Iorio

Interview

"Regardless of whether I am with a new orchestra or not, I wish everyone a 'good morning' and then start playing immediately. It is important not to waste any time and both sides need to learn about each other."

Talking with singers: Cristina Pasaroiu

Interview

"Everything is relative. You have just to be true with yourself, to know where your limits and qualities are and try to be always sincere."

Talking with singers: Samantha Hankey

Interview

"At the end of the day, it is our career and our life, and we need to make the artistic and personal choices that makes us who and what we are. It is important to accept all of the feedback, suggestions, and options with an open mind, but always sift through them to find your voice."

Merrily The Rake's Progress rolls along

Review

It is apparent that one doesn't question the avant-garde at Mannes, but welcomes it. Recent productions of Robert Ashley's conceptual Dust and Philip Glass' rarely performed The Fall of the House of Usher reinforce that point. And there is enough invention in Stravinsky's composition and the beautiful libretto by W.H. Auden with Chester Kallman, (a satisfying read in its own right) to keep these gifted singers and musicians on their toes.

The 2018 CMIM begins!

News

Competitions are a funny thing. They demand a different set of skills than a performance in an opera or recital, and with the CMIM's expanded, online audience, the pressure for perfection is at its peak. A competition doesn't always give a good indication of what a singer does well - they may be an entirely different beast in performance-mode - but it's a fascinating snapshot into what a singer is doing at a specific point in their career.

Talking with singers: Ashley Riches

Interview

"The mobile and solitary nature of the job is one of the hardest things for singers, so my time with my family is really important to me. I'm really careful about letting my job compromise that and I've been lucky enough (so far) to have a good balance between time at home vs. travelling. When away I read and write a lot, which in combination with cross-fit and crosswords, keeps me sane."

Ensemble Studio shines in a lackluster Evening

Editorial

Whatever its form, this annual event is meant to show off what these artists do best. It's clear that the Ensemble Studio features seven excellent young voices and two industrious pianists. With that said, An Evening With the Ensemble Studio seemed to show that what these young artists do best is prosper under the oddest of onstage circumstances.

Talking with singers: Adela Zaharia

Interview

I have different favorite singers, especially for the roles that I am singing. For Traviata, it's the great Virginia Zeani or Anna Moffo, for Konstanze in Entführung it's Eda Moser. For her interpretation, energy on stage, and the passion that goes into the singing, it's of course Maria Callas.