Talking with singers: Matthew Anchel

Interview

"What I think happens a lot, is that you have people who are maybe more stereotypically attractive in thin bodies, who maybe have medium voices — not the best voices in the world." These singers are well promoted, Anchel says, and they get opportunities to work with opera's best. "So they get really good at singing, even though maybe their voice isn't that amazing."

Radical women & drag Don José: Chicago Opera Theater's Carmen

Interview

"Women who are independent, strong, and sexually liberated have a long history of receiving society's scorn because they refuse to break themselves in order to fit the approved mold. Carmen is many things, but a slutty, evil temptress? Nope."

Season highlights out of the COC, the TSO, and 21C (oh my!)

Editorial

But if you ask me and my opera-bias, the big draw for this season's 21C is the world premiere of Gould's Wall, the new opera by Brian Current and Liza Balkan, produced by new-opera leaders, Tapestry Opera.

Happening now: OTSL's digital 2021

Editorial

I intend to take it all in, and I'm particularly excited to experience Will Liverman and Nicole Cabell in a production together. Plus, Patricia Racette's Elle is an exciting thought.

An opera fan's must-read: The Monster I Am Today

Review

The Monster I Am Today is an excellent pick for the contemporary opera fan. It's grand and operatic, with its emotional peaks and depths. For me, it's a completely new — and frankly, overdue — perspective on this beloved art form. It's a fresh read, and I highly recommend.

Aria guides: La donna è mobile

How-To

Probably in large part due to Pavarotti himself, this aria is in that upper echelon of the canon that's recognizable in the mainstream. This aria a dance, somewhat of a ditty; it would almost be fluff, if not for the Duke spewing some old-school chauvinist views on women.

Aria guides: Stride la vampa

How-To

Azucena, the gypsy woman with an obvious PTSD situation over having accidentally thrown her own baby in a fire several years back. The crackling fire triggers the memory, and Azucena sings "Stride la vampa" ("The flames roar").

Jenna's back! And so is opera, we think?

Editorial

Maybe because of morbid curiosity, I'm oddly pumped for this season. It'll be like watching opera history happen: we've gotten used to digital opera, and there's more out-of-the-box thinking happening now than we've had in centuries.

Aria guides: Cortigiani, vil razza dannata

How-To

Rigoletto sings this aria at the moment he learns that his boss's goons have kidnapped his daughter, Gilda. He begs them to give her back, in a crazy sweep of drama that starts at enraged and ends at desperation.

Aria guides: Pace, pace, mio Dio

How-To

Leonora sings this from the cave she's been living in lately, hermiting away from things like botched elopements and family curses. This marathon aria is certainly one to work on closely with your trusted teachers and coaches.