“Everything from the highly characterized singing to the lush yet keenly honed reading of the score, under Kim’s baton, registers in a vividly visceral, emotionally penetrating way. Nothing feels or sounds gratuitous; just about everything, across three-and-a-half musically and dramatically absorbing hours, seems essential.” Eun Sun Kim’s house debut in San Francisco earns widespread critical acclaim.
“Aubrey Bergauer is the dynamic and innovative administrator whose five-year tenure as executive director of the California Symphony in Walnut Creek helped revitalize the orchestra’s audience base and bottom line…” The data-driven leader will launch a consultancy intended to replicate her game-changing strategies across a broad range of arts organizations.
Verismo Founder Beth Stewart joins Banff Centre for Arts and Creativity’s Opera in the 21st Century program as guest faculty this week.
Beth Stewart joined San Francisco Chronicle critic Joshua Kosman, Opera Philadelphia VP of Marketing & Communications Frank Luzi, and composer Niloufar Nourbakhsh in a panel discussion on the state of media and promotion in 2019.
“A festival suffused with purpose and ambition.” ResBods returns to Brooklyn’s Roulette Intermedium for its 7th annual festival this September 3-5, 2019. Featured artists include Kate Soper, Arooj Aftab, Anthony Roth Costanzo, and Charmaine Lee with guest artists Conrad Tao, Vijay Iyer, Wet Ink Ensemble, Ashley Bathgate.
We’re expanding the Verismo team with two new positions: one in New York City, and one that can be based in another metropolitan area. If you’re whip smart, witty, and wild about classical music and opera, check out our Jobs page!
"From Song Came Symphony" is 'A Wide-Ranging Night of African-American Music Served up with Fire And Feeling'
The Burleigh Society and Urban Playground Chamber Orchestra co-production “landed with earth-shattering force.”
“Otello requires a dramatic tenor with a wide vocal range, the power to cut through heavy orchestration, and the skill to make the long, declamatory passages sing – ideally, a voice that marries Wagnerian stamina and Italianate beauty. Russell Thomas is one of them.” The American tenor’s staged role debut as Otello is met with critical acclaim across North America.
“Organizers have sought to recognize creators who unflinchingly detailed Black experiences despite the risk of offending a powerful white establishment.” An All Arts preview examines the influence of Harry T. Burleigh on generations of African American classical musicians.
“Musical mastery that turns both this massed ensemble and superb orchestra, conducted by Lidiya Yankovskaya, into forces of nature in their own right.” The Chicago premiere of Heggie’s Moby-Dick is led by Music Director Lidiya Yankovskaya.
The American mezzo will be the featured performer in classical music’s biggest party.
“Instagram allows access for everyone, which is really important in a field that has traditionally been elitist. I believe very much that the future of opera is inclusivity, and Instagram provides a platform for that.” Star mezzo Jamie Barton, conductor Lidiya Yankovskaya, and Verismo founder Beth Stewart are all featured in the Spring 2019 issue of Opera America Magazine.
“Nothing could have prepared me for the focused intensity of Winters’ performance as Rachel…” Opera Vlaanderen’s recent run of Halévy’s La Juive is now available to view online via OperaVision.
“Thomas is an engaging, easy conversationalist; he admits with a grin that he has ‘a lot of opinions,’ but they are impressively well argued and delivered without a trace of arrogance.” The American tenor has landed his first Opera News cover.
“A stinging rebuke to still-active demeaning stereotypes that cast black people as sassy, loud, and unrefined.” The Harry T. Burleigh Society concert, featuring the Fisk Jubilee Singers, earned critical acclaim from the Log Journal.
“A complete singer with a once-in-a-generation voice, a born communicator, a deeply compassionate human being with so much to give to audiences – Jamie Barton is an artist whose time truly has come.” The American mezzo earns a six-page feature in the March 2019 issue of Opera.
“Khalil's performances offer an energy and understanding that make hers a new definitive interpretation of the work.” Ayre: Live, the debut release from Against the Grain Theatre’s new in-house recording label, has been nominated for a 2019 Juno Award for Classical Album of the Year, Vocal or Choral.
“Yankovskaya does a terrific job as a conductor of this score bringing out the many colors and styles of music with her thirteen musicians who prove game to the challenge.” Lidiya Yankovskaya makes her Washington National Opera debut leading the world premiere of Kamala Sankaram’s Taking Up Serpents.
“Holtan is ecstatic about having this world-class soprano back in our midst. ‘She was such a huge hit when she was here last time, and when we reached out to her, she didn’t hesitate,’ he says.” Corinne Winters joins the Tucson Desert Song Festival for concerts, a recital, and a masterclass.
“What makes an American opera? Many of the support programs designed to promote new work create the somewhat amusing spectacle of American artists such as Kamala Sankaram, whose father is from South India, or the opera’s conductor, Lidiya Yankovskaya, whose family emigrated from Russia when she was 9, compressing themselves into someone else’s ‘American’ template.” Ahead of her house debut at Washington National Opera, the conductor spoke with Anne Midgette about the world premiere of Taking Up Serpents.