Watch & Listen
Several contenders are bidding for the legacy of New York City Opera in the hopes that the company — or a simulacrum of it — might be resurrected. Do those vying for a City Opera comeback know what they're getting themselves into, and is there still an audience to engage? BRIAN KELLOW reports.
Digital Edition | March 2015
View the entire March 2015 issue with our online reader.
Behind the Scenes | Joyce DiDonato
Go behind the scenes of Opera News's March 2015 cover shoot with mezzo Joyce DiDonato.
Road Show: Gerald Finley in Toronto
The Canadian baritone extols the eclectic virtues of his native country’s most populous city. By ERIC MYERS
MATTHEW SIGMAN catches up with Beth Morrison, who brings a highly personal style to the distinctive brand of new music-theater her company is developing for stages large and small all over the U.S.
Out Late with Amanda Majeski
The soprano, who made her Met debut as the Countess in the company’s season-opening
, goes out on the town with F. PAUL DRISCOLL.
Following @Joyce DiDonato
The mezzo of the moment is using every available digital resource to bring her passion for unadulterated opera to current fans and potential new audiences. F. PAUL DRISCOLL checks in with opera’s most accessible diva.
Lifting the Veil
In Verdi’s original
, Princess Eboli was a full, rich creation — one that has been obscured in truncated versions of the opera. As the opera returns to the Met repertory, WILLIAM R. BRAUN fills in some of the blanks in this fascinating character.
The Kolodin Review
FRED COHN explores the legacy of Irving Kolodin, whose often surly but unfailingly well-informed and readable reviews defined classical music for a generation.
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With her gorgeous voice and a highly nuanced characterization, American soprano Christine Goerke made a triumphant role debut as Brünnhilde at Canadian Opera Company.
Matthew Aucoin is a composer/conductor who has already had dozens of his compositions performed and has worked alongside James Levine and Thomas Adès.
The Met+Juilliard presentation of
Iphigénie en Aulide
served as a showcase for exceptional young talent, as befits a conservatory production. But more significantly, it was a performance that gave Gluck his full due.
March 2015 — VOL. 79, NO. 9
Tweets by @OPERANEWS
Met's 2015-16 Season to Feature New Stagings of
Les Pêcheurs de Perles
and Company Debut of
Marvin David Levy, 82, Composer of
Mourning Becomes Electra
, Has Died
Kenneth G. Pigott, 71, Lyric Opera of Chicago President and CEO, Has Died
Alan Gilbert to Resign as NY Philharmonic Music Director in 2017
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