Leonard Bernstein & NYFOS: "I think he'd be pretty proud of it."

Interview

"I think he'd be pretty proud of it," Barrett imagines of Bernstein's reaction to NYFOS' entering its 30th season of thematic vocal programming in large and small venues around New York. Barrett adds in another surprising anecdote: "In fact, he was our founding president."

Verdi at 204, Toscanini at 150: the 2017 Festival Verdi

Interview

"The Festival Verdi was inaugurated in 2001, one hundred years after Verdi's death. Since then, extraordinarily talented artists have performed here, including Bruno Bartoletti, Riccardo Chailly, Daniele Gatti, Lorin Maazel, Zubin Mehta, Riccardo Muti, Daniel Oren, Antonio Pappano and Yuri Temirkanov."

AAM's King Arthur: a missed Brexit

Review

Some segments worked well, such as the famous freezing scene as a metaphor for the despair felt by the Remainers, or the ambiguity subverting the triumphalism of "Saint George, the patron of our isle". But why the duet "Two Daughters of Aged Stream are we" should evoke a nightclub or the martial posturing of "Come if you dare our trumpets sound" should call to mind a train station will have to be explained to me.

Folk songs for lunch: Esprit Orchestra & Krisztina Szabó in the RBA

Review

Szabó takes a cue from folk-song performance practice, keeping things simple and all about storytelling. She found ease in her role among Berio's varied sound worlds, and let her listeners settle in to what's familiar in these songs: the tunes. The light-filled, close-up environment of the Amphitheatre is unnerving for many artists, but Szabó is a performer who relishes the chance to step into her audience's personal space.

James Robinson's Elixir of Love: "I think it's one of the best comedies."

Interview

"I'm always the first person to say, 'Ok, I had a bad idea, let's try something else'," he says, smiling. "When singers feel that they are part of the discovery process, making choices on their own, they memorize it faster, they're more reliable, they're more comfortable, and they sing better."

55 years of Minnesota Opera: a gala celebration

Review

A company well-known for their journeys into new music and non standard repertoire, this concert was a refreshing take on the typical opera company showcase. The spirit of bringing new works to life was certainly felt at this performance, and I hope The Minnesota Opera will continue to grow in their mission for years to come!

"A truly otherworldly space": Heartbeat Opera's Drag Extravaganza

Interview

"Opera has been a home for drag for centuries! Think: pants roles like Cherubino. Moreover, opera is about big emotion expressed in grand, often over-the-top ways. The Queen of the Night's famous aria from The Magic Flute embodies rage and power with delightful virtuosity. Drag performers channel big emotions in grand ways too. Plus, opera and drag both demand fabulous costumes and wigs!"

Overdue for the stage: Haymarket Opera Company's Ariane et Bachus

Review

A highlight of the performance was the chorus of the furies in Act IV, as summoned by the sorcerer Géralde. Snakes were an effective unifying visual element here: not only were the demons themselves swaying like charmed snakes and brandishing faux snakes, but their Medusa-like wigs and skirts fashioned from wide strips of flowing fabric brought great movement to the scene. The music's regular flowing triple meter was often unexpectedly interrupted by hemiola hiccups so typical of baroque dance rhythms.

Tim Albery: flawed operas & falling empires

Interview

"It depends where you are, and what the culture of the place you're working in is," says Albery. He points to obvious hurdles, like companies with large overhead costs ("The people with buildings are the people with commitments to paying salaries") and a tradition - even a perceived dependecy - on patrons buying season-long subscriptions, a trend he says is "dying".

Stellar singing & curious costumes in ENO's Aida

Review

This production was very beautiful from a visual perspective. The sets were colossal, drawing the audience into a strange fantasy world. It was full of stunning tableaus, especially those that included the whole cast, the chorus and the wonderful acrobatic ensemble, Improbable. The lighting design was particularly clever, illuminating the production in a way which seemed almost symbolistc. For me, the most stunning moment of the whole production was the strange ending.