Is new opera putting the répétiteur out of a job?

Editorial

Centuries ago, the piano could act as a self-contained, portable element that encompassed the sound world of an orchestra; the role of the répétiteur has evolved organically out of this practice, and most rehearsal pianists are valuable assistants to conductors and liaisons for singers. Now, composers are now working with a sound spectrum that is larger than a piano can represent; to use a piano in rehearsal no longer achieves the goal of re-creating what the singers will hear when the "real orchestra" shows up.

Review: the personal side of Bach's B minor Mass

Review

The mass text exists well outside of the personal experiences of any composer who sets it; yet in the case of Bach, and the amount of sadness that followed him throughout his life, it's not difficult to imagine him speaking these desperate words in his own voice. Bach would consider that a great blasphemy, no doubt. A man almost as famous for his piety as for his music, it's no wonder he devoted himself and his extraordinary work to God.

Daniel Belcher returns to The Long Walk

Interview

"The best part is getting to know the man very well over the last four years. When I first met Brian in New York, I was very intimidated and, honestly, worried that he would think, 'Who is this guy to play me?' It was quite the opposite; he opened his arms, said, 'Opera Brian!' and gave me a hug. He has been nothing but supportive and in fact, over the years we have become very good friends."

4 arias & their common misconceptions

How-to

Daughters have been making pouting faces and puppy eyes at their fathers to get what they want for centuries, and Puccini encapsulates the strategy perfectly. "Babbino" is like saying "Daddy", or even "Daddykins", and to sing it on top of the lush tune is the equivalent of crocodile tears. "I'll throw myself off a bridge", Lauretta paraphrases (twice), if she doesn't get her way. Ugh.

Natalie Dessay: "opera is an art which has not been able to renew."

Editorial

Frankly, there are either examples of forward-looking operas, or there aren't. It's strange that Dessay dismisses the works of two of the great opera composers of the 20th and 21st centuries, as though their rarity makes them invalid. On top of the big names like Adams and Adès, a fair peruse of what's happening in places like Minnesota Opera, Opera Philadelphia, Lyric Opera of Chicago, and Houston Grand Opera can easily dispel the "rare" myth.

In review: Chris Thile at Wigmore Hall

Review

The virtuosity of his mandolin playing reminded us of the pristine coloratura of singers like Marilyn Horne or Joan Sutherland - every note is perfect, and every note has purpose. We hear every note in its exact place, and even as Thile was playing in just one voice, we heard how the harmony progressed.

Talking with singers: Matthew Polenzani

Interview

"If you're going through a divorce, or there's been a death in the family, or your children are misbehaving, or whatever it is, that stuff can be difficult on a voice." Polenzani has watched his own colleagues go through tough times in their offstage lives, and the personal costs are certainly audible in a singer's voice. "On the other hand, I also know singers who have been through divorce who are singing better afterwards, because the stress of a failing marriage was difficult on their voices."

Poor decisions & professional consequences

Editorial

There's something to be said for adding personal comportment to the long list of must-haves within the competitive industry of opera; with so many great singers vying for coveted professional spots, why give the gigs to the man who drinks so much that he smashes peoples' heads against toilet bowls?

Why opera fans love to name-drop

Editorial

Basically, if we were to tell you that Terrence Malick has made a new Netflix miniseries starring Meryl Streep and John C. Reilly, and that it was written by JJ Abrams, and that it features cameos by Alan Rickman, Uzo Aduba, and (maybe?) Stan Lee, you'd go see it, right?

Talking with singers: Saimir Pirgu

Interview

Though the risks are low in practicing one's craft within school or young artist productions, Pirgu feels that the benefits are equally low. "From nothing, comes nothing," he says. "That's what I learned in those years. I did things when I was not supposed to do it." In a way, he misses the carefree approach he had towards singing in these early years. "It was beautiful. Just go straight away and sing. Now, I think too much."