"Little-known gems": Ariane et Bachus

Interview

"I have to admit that I am partial to demons, having portrayed a dancing fury a few times myself. After carefully embodying good taste in the noble characters, the evil characters get to break all the rules. Plus, in hell you get to play with snakes, wands, and torches."

"I think it takes a brave artist to do something like an Opera Pub."

Interview

"There's nothing that compares to a rowdy, enthusiastic crowd cheering you on when you've nailed that high note. You just don't get that in your usual recital/concert setting, and there really is nothing more gratifying. Of course, the singers involved are the biggest highlight for me. As a coach here in Toronto, I meet new singers on a daily basis, but there's something about meeting a singer on stage (literally) and performing for the first time with absolutely no rehearsal in front of a live audience that is absolutely thrilling."

A lopsided & bloody double-bill at Hackney Empire

Review

The second piece of the programme was Bartók's staggering Bluebeard's Castle. Bluebeard's lush mystery couldn't have provided a stronger contrast to tense grey world of Senza Sangue. This production too began with a bare stage, but through the brilliant lighting design of Philippe Grosperrin, each of Bluebeard's seven forbidden rooms came to light.

Opera myths & all that jazz: an interview with Frank Pesci

Interview

In a recent interview with Anthony Garone of Make Weird Music, Pesci talks about the operatic myths that may keep potential audiences at arm's length, the influence of jazz in his music - and its value for classical musicians - and his own "heroes" of contemporary opera.

A warm introduction: The Mozartists at Wigmore Hall

Review

On the 18th of September a new musical group, The Mozartists, was launched at Wigmore Hall. The creation of Classical Opera conductor and Artistic Director Ian Page, it aims to cultivate the music of Mozart and his contemporaries, as suggested by the name. So with the blessing of the Soul of Music on the cupola above, The Mozartists gave a successful debut.

An organic integration: The Wake World

Review

The audience literally follows Lola (Maeve Höglund) as she embarks on a wild love story with The Fairy Prince (Rihab Chaieb). Soprano Maeve Höglund sings exquisitely and brings an infectious wonder to the role. Rihab Chaieb has a rapturous voice, full of lush colors.

Dynamic and physical: Rinaldo at Oper Frankfurt

Review

Three tiny, nearly-nude dancers painted from head to toe acted as freaky humanoid henchwomen to Armida. These impish women did Armida's bidding, transforming at different points into a three-headed monster, a forest, or mermaids, and stopping time to control various characters. A particularly striking moment was when Rinaldo sang "Abbruggio, avampo, e fremo" while being tormented and yanked around by the imps on three long ropes.

Talking with singers: Carl Tanner

Interview

"I was a truck driver just out of university in 1985. I loved it! In a way I had no boss, just me and the truck and my drops. I also loved bounty hunting until I learned it can get you killed! I worked as a bounty hunter for a little over two and half years in which I executed approximately 178 out of 190 warrants. After a few life-changing experiences I realized maybe it wasn't my calling to chase down people."

"Humanity's bond to war": War Stories at O17

Review

Beecher's score is a gripping manifestation of the heart-breaking and heavy content of the libretto. His choice to use the same instruments that were used in the Monteverdi is a brilliant blend of past and present. From the very first eerie sounds that welcome us into the world of the piece, one hears similarities to George Crumb's Black Angels, which is a response to the Vietnam War.

Conversations "of the most urgent nature": We Shall Not Be Moved

Review

We Shall Not Be Moved asks hard questions about race, gender, flaws in our education system, and more. This work brings up parts of history that many would have us sweep under the rug. Great art has the ability to teach us the difficult lessons our education has deliberately excluded. After the performance was over, Bill T. Jones said that he wanted this opera to start a conversation.