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Spotlight on: Danika Lorèn

Spotlight on: Danika Lorèn

"Be a good colleague not because you want to make a good impression on people, but because you care about the working environment that you are part of. A negative rehearsal space can be poisonous and a little bit of camaraderie can make a world of difference."

Jenna Simeonov
In review: Laura Mvula with the LSO

In review: Laura Mvula with the LSO

Singing her own songs arranged by Troy Miller, Mvula possesses that truly remarkable quality that has come to be a holy grail for singers of all styles: that when she is performing, you feel like she is looking directly at you, talking to you specifically.

John Beckett
The value of creating new work for singers

The value of creating new work for singers

"I appreciated that we weren't the focus of the project; we were the vessel for it. Everything in the experience was about making the art better and it was our job to the best performance possible. In any opera, the music comes from the libretto and every note means something. To have that be the full focus of the project meant that was a different musical experience for me."

Colleen Maybin
No, opera is not misogynist

No, opera is not misogynist

Certainly, if you look at opera's plots in a vacuum, perhaps you could find evidence of misogyny. But it would entirely miss the point of opera - art, really - to ignore the opinions of its composers and librettists.

Jenna Simeonov
In review: The Merchant of Venice

In review: The Merchant of Venice

At the end, we were left feeling like this was too big a piece for Welsh National Opera to chew on. With most of the cast underwhelming and the orchestra's lack of musical interpretation, it wasn't easy to sit through. We're glad to feel uncomfortable in an opera because of sensitive issues is might broach, or because of a controversy it might cause. But in this case, we were just wondering if they would make it to the end.

John Beckett
Talking with singers: Brenda Rae

Talking with singers: Brenda Rae

"For me, the key to a great Mad Scene is freedom. It's good to have parameters, but when there's freedom, I can do something unexpected which I think keeps the scene really fresh, and lends to the 'mad' quality of it! Musically, dynamics are key, and really help to keep the audience on the edge of their seats."

Jenna Simeonov
It's official: Breaking the Waves wins Best New Opera

It's official: Breaking the Waves wins Best New Opera

"Breaking the Waves was modern, urgent, and heartbreakingly believable in its tragedy and redemption. It was also striking in the way it transformed the Lars von Trier film, which I found misogynistic, into something completely different – a story about female agency."

Jenna Simeonov
There's a role for you in Schmopera: Act II!

There's a role for you in Schmopera: Act II!

Readers, in order to take this next step, we need your help. We've never liked the idea of putting ads up on the site; they clutter up your reading experience, and they inhibit our ability to write unbiased material.

Jenna Simeonov
Talking with singers: Cassandra Warner

Talking with singers: Cassandra Warner

"First of all, the voice is paramount. Get that technique down first before moving on to anything else. Next, opera is certainly a pleasure to take part in, but at the end of the day, it is a business. You need an income to sustain and advance your career. Be sure to learn important skills such as how to create a spreadsheet, a great bio & resume, a website, a contract, and how to improve your client relation skills."

Jenna Simeonov
In review: the JPYA summer performance

In review: the JPYA summer performance

The audience's favorite seemed to be a duet between Francesca Chiejina and Thomas Atkins from L'amico Fritz - their two strong voices were very well matched to each other and each full of character and vibrancy. The pair had some of the best chemistry on stage, everyone grinning at Chiejina's sultry consumption of a cherry.

John Beckett

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