In the coming season, The Atlanta Opera will showcase its vision as a regional leader in the arts through innovative, theatrical productions of diverse works. The 17/18 season will also feature the first fully staged performances of Jake Heggie's Out of Darkness, in TAO's fourth consecutive season offering a contemporary work by an American composer.
"Opera is alive, and exists only from the downbeat until the curtain falls." The soprano sings Verdi's tragic heroine in productions at Seattle Opera, San Diego Opera, and the Royal Opera House Covent Garden this season.
"It’s hard to find adjectives superlative enough to describe her voice: huge and sumptuous, but with such broad possibilities of color that the singer can chill the blood with just a glint of steel in the tone. Lurching, heaving and writhing nonstop, she looked as if she might any moment explode out of sheer malevolence." Jamie Barton returns to the Metropolitan Opera in a new production of Rusalka.
The Atlanta Opera’s Silent Night “revealed a company unafraid to move in bold new directions, and with more than enough talent on hand to take a captivated audience along with it into the 21st century."
"She brought enormous power, rich colours and perfect intonation to the vocal line. This was highly emotional and yet beautifully restrained singing that really got beneath the skin of the music.” Jamie Barton's recent recital tour with pianist James Baillieu was 'ecstatically acclaimed' by audiences and critics alike.
"'Come scoglio' (Like a rock) applied rather more correctly to Winters’ singing technique than to Fiordiligi’s constancy.” Winters makes her Covent Garden debut as Fiordiligi in a new production of Mozart's Così fan tutte.
Alongside an album of environmentally conscious new works by Grammy winner Libby Larsen and Pulitzer Prize nominee Laura Kaminsky, the visionary Fry Street Quartet has launched the #makeityours campaign to encourage personal responsibility for global sustainability.
"As her voice leaps across the extremes of range and emotions, Barton remains solid as a rock." Jamie Barton sings Elizabeth Proctor in Robert Ward's haunting The Crucible, directed by Francesca Zambello.
"Majeski sings this touchstone Straussian role with gleaming, resonant tone and insightful musicianship..." Amanda Majeski returns to Santa Fe Opera as the Countess in Capriccio, opposite Susan Graham's Clairon.
"Deliciously phrased, Winters' Alice is the real deal, soaring in ensemble, sighing in mock adoration..." After role and house debuts in Rome and Birmingham, Winters joins Bryn Terfel and the Welsh National Opera Orchestra in concert at the Henley Festival.
“Amanda Majeski made the best Eva I have heard in years, true of pitch and pure of tone, comfortable in all reaches of the part and emotionally persuasive from beginning to end." Majeski returns to the rolling hills of Glyndebourne as Eva in Wagner's Die Meistersinger von Nürnberg.
"Winters exudes the fascination of a very exceptional woman in every moment." Corinne Winters sings Mélisandein a new, psychoanalytically inspired Dmitri Tcherniakov production of Pelléas et Mélisande.
Ahead of her Opernhaus Zürich debut as Mélisande in Debussy's Pelléas et Mélisande, Corinne Winters talks with Schmopera about playing those coveted roles, her offstage creative outlets, and how she stays happy and healthy on the road.
Ahead of her Washington National Opera debut as Waltraute/2nd Norn in Götterdämmerung, Jamie Barton talks with Schmopera about her goal to bridge the gap between the art form she does on a daily basis with the art form she grew up loving.
"She sounds so richly experienced, so old-school, with a coloratura that is pure Technicolor..." Jamie Barton graces the glossy pages of the March issue, talking music from bluegrass to Bizet, and staying true to her Georgia roots on the road.
Jamie Barton will debut as Jezibaba in an imaginative new Mary Zimmerman production of Dvorak's Rusalka and bring her celebrated Fenena to the Met stage alongside Plácido Domingo as the title character in Nabucco. Both productions will be Met Live in HD broadcasts in cinemas worldwide.
"One does not need to "appreciate" singing to know what good singing is...we all know it when we hear it, and the goosebumps are proof positive of that." Rolando Sanz talks with Schmopera about listening to the greats, trusting oneself, and giving Aretha Franklin the R-E-S-P-E-C-T she deserves.
Nearly a decade after singing a winning "Priva son d'ogni conforto" during the finals of the 2007 Metropolitan Opera National Council Auditions, Jamie Barton is making her much-anticipated debut as Cornelia in Handel's Giulio Cesare.
“In a modern world in which classical music is facing a tough battle for continued funding, TDSF is giving smaller regional organizations an opportunity to thrive.” The Tucson Desert Song Festival brings the BBC Cardiff Singer of the World and Grammy winners to the Old Pueblo.
Named "Best Breakout Star" by Chicago Magazine, Amanda Majeski is living up to the title. Ahead of her Marschallin in Lyric Opera of Chicago's production of Der Rosenkavalier, she spoke with Schmopera about singing, the importance of being multi-lingual, and her enormous dedication to her work.
"Classical music should not just be for the people who can pay the most." Ahead of their telecast of the 2015 Richard Tucker Opera Gala, Live from Lincoln Center has released "Bringing Music to the People," a video showcasing Jamie Barton's work with Sing for Hope.
Caliente explores how TDSF lures top singers, the collaboration with the Ravinia Festival's Steans Institute to honor Robert Shaw, and guitarist Adam del Monte's musical upbringing in the caves of Spain.
"For 18 days this winter, the world’s most exciting vocal stars will descend on Southern Arizona, enriching the seasons of eight local performing arts organizations." Jamie Barton and TDSF Director George Hanson made a joint television appearance, featuring an interview and two performance segments.
Corinne Winters will appear as Violetta in the Peter Konwitschny La traviata – the same production that launched her international career and landed her on the cover of Opera magazine in the UK – as well as the title role in Katya Kabanova.
"Few music festivals can claim the leadership position or forward thinking of the Tucson Desert Song Festival." The Latin Post features the TDSF's work, including upcoming appearances by Spanish guitarist Adam del Monte and Argentine-American mezzo Daniela Mack.
"She has everything: the voice, the charisma, the looks, the intensity, the acting...touching, vulnerable and vocally flexible, melting or brilliantly edgy as necessary." Corinne Winters speaks with The Independent about marketing opera to young people and her new life as a Londoner.
"Faultless — stylistically on the money, dramatically committed, and displaying a vocalism that was perfectly even from the top to the bottom of his range." Weston Hurt's signature roles are the complex, menacing, cajoling heroes and villains immortalized by Verdi, Puccini, and Donizetti.
"A leader of a new generation of opera stars." Classical Music Editor Zachary Woolfe joined Jamie Barton as she recorded her first solo album, rehearsed a new role at the Metropolitan Opera, and performed at the Greene Space.
"At once supportive, unassuming, and richly musical." Christopher Allen is currently The John L. Magro Resident Conductor for Cincinnati Opera, Associate Conductor at Los Angeles Opera, and was recently nominated as a finalist for the 2015 International Opera Awards in London in the “Newcomer” category.
"It’s not often that the words 'down-to-earth' and 'opera star' are spoken in the same breath, but both terms fit mezzo-soprano Jamie Barton perfectly." Jamie Barton talks to the AJC about staying grounded and juggling stage time between the Metropolitan Opera and the DeSoto Theatre in Rome, Georgia.
"Barton is dazzling as Fenena, with a showstopper Act IV aria that displayed the lyricism and agility of this remarkable voice." Jamie Barton sings her first Fenena in Nabucco, a role that will also serve as her Royal Opera House Covent Garden debut this season.
"That joyfully dark, voluptuous and steady voice sucked us in from the first worried note to the last breath of emollient calm." Jamie Barton sings the Brahms Alto Rhapsody with the Orchestra of the Age of Enlightenment, under the baton of Marin Alsop.
"Although fate may have jump-started Majeski's career, pure talent propels it." Amanda Majeski talks with CS Modern Luxury magazine about stepping up to the plate and which opera character she'd like to chat with over coffee.
“My first instinct is to go for a very sympathetic Fenena. I’m a big believer in bringing beauty into the story when I can." Ahead of her Seattle Opera debut, Jamie Barton talks to the Seattle Times about Fenena, Wagner, and her roll-out-of-bed-and-sing music.