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Erin Morley, Lawrence Brownlee, and Malcolm Martineau put on a jolly good show at the 92nd Street Y.
Luminous Lucia Popp’s “Caro Nome” beams with Gilda’s youthful passion, displaying Popp’s signature bright, beautiful timbre and magnificent coloratura.
Anna Tomowa-Sintow, "Ernani Involami," from the MET Centenial Gala, 1983.
Rosa Ponselle is the singer who had it all.
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
With youthful abandon, Ms. Feola interprets an old chestnut.
"Soprano Vida Miknevičiūtė will make her company debut singing the role of Minnie in the new production of Puccini’s La Fanciulla del West, replacing Sondra Radvanovsky, who...
While studying Un ballo in maschera for my Vienna role debut next January, I came across this beautiful ‘Ecco l’orrido campo’ amazingly performed by Montserrat Caballé.
The winner of the 2026 Beverly Sills Artist... The post Bliss for Met winner appeared first on Slippedisc.
I feel that the best years of Maria Callas’s vocalità, when we hear such a unique freedom and generosity in her singing, were captured in her early recordings.
Nadine Sierra's Gilda at the Metropolitan Opera had that rare quality of sounding both immaculate and spontaneous, as if Verdi's lines were being discovered in the moment rather th...
While I like both Erna Berger and Maria Stader's versions, Erna Berger brings more drama to the rendition.
To celebrate the 100th anniversary performances of Turandot at the Met starting next week, Patrick Dillon gives a listen to seven versions of "Signore, ascolta!" for Perspectives o...
The mezzo-sopranos Joyce DiDonato and Denyce Graves and the countertenor Anthony Roth Costanzo share their picks of essential productions.
Thanks to Elly Ameling, I made it through college.
I was a huge fan of Anna Netrebko.
I've looked to Sherrill Milnes many a time for insight and guidance whenever I've added a new Verdi role to my repertoire.
I had heard the renowned Dutch soprano on recordings and was an admirer of hers. I was unprepared, however, for such a truly memorable evening.
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Victoria de los Ángeles has always been my Violetta of choice, a portrayal that never ceases to move me.
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
Nothing prepared me for the Soviero experience
Jessye Norman really embraces elements of the song falling somewhere between classical art song and popular ballad.
Tebaldi, at La scala, in one of her nights of glory, where the voice poured out effortlessly, singing with utter conviction, and no soprano ever appealed to God more fervently.
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