Why do we value our artists so little in the U.S. that we question whether $100,000 per year is too much money to earn for essentially being the backbone of the most well regarded opera house in the country?
I suppose it takes a highly specialized village to make the Metropolitan Opera work on all cylinders. New York has already lost one opera company. We do not need to lose another.
Last week, some friends came to visit my hometown. "We know it's a drag to have to be a tour guide in your hometown, but what if you became a tourist with us?" one of them suggested.
Whether your taste is modern or Baroque, these are some opera houses you definitely need to visit on your next trip around the world.
I have been reading with interest the many articles and comments about the controversial decision by Peter Gelb of the Metropolitan Opera to cancel th...
Wiesbaden cannot possibly compete with Munich or Berlin or Frankfurt or Cologne or Stuttgart. But it is cozier, more easily navigated, than the big cities
Why do European opera institutions not have in-house residencies for composers? It is said that contemporary opera does not have an audience but that is an obvious misconception.
Though women are generally portrayed as schemers, in this case it is the men who pose the challenge -- something like Bridesmaids-meets-Hangover for the 18th century.
There was part of me that didn't want to get involved in the discussion at all because I wanted the news about it to end so that the singer in question could just forget about it and move on.
Calling a perfectly beautiful and well-shaped woman fat turns what we do into little more than a wet t-shirt contest.
Even in today's more authentic and interesting productions, seventeenth-century Italian/Venetian opera can be a hard sell: Where are the tunes amid all the recitative-like declamation?
The established model of presenting new works to audiences is changing and the audiences are changing dramatically too. An entire generation of composers and performers are taking the presentation of their works into their own hands.
I was up for the sunrise and climbed the Inca ruins with my paints. Words cannot adequately capture how truly spectacular this site is, and how amazing that they could build these structures in this inaccessible place.
Visually, the show was stark and beautiful. Harry Frehner's sets and Marcus Dilliard's lighting effectively suggested the actual settings while also reminding one of the constant prison theme.
Opera doesn't belong to the elites, and it's a possible in our lifetime for opera to reclaim its spot at center stage.