“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.
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.
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!
“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.
“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.
“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.
“Miriam Khalil’s performance on this album shows her to be more than a singer: she is an elemental force.” Against the Grain Records releases a stunning new recording of Osvaldo Golijov’s Ayre by a soprano native to many of the cultural threads.
Musical America describes Yankovskaya as “friendly and fearsomely articulate" while the New York Festival of Song interviews Winters on self-care, favorite rep, and mentoring with Turn The Spotlight.
“Pianist Christopher Allen proved a thrilling collaborator, finding orchestral colors in his virtuosic playing.” Conductor Christopher Allen returned to his first love, the piano, to partner Patricia Racette in his Opera Philadelphia debut.
Mejia’s “Prelude in F Major for Piano and Orchestra,” from his album An Open Book, was nominated for Best Classical Contemporary Composition.
This season will take Verismo artists to stages and orchestra pits around the world, including those of the Metropolitan Opera, Carnegie Hall, Kennedy Center, Atlanta Symphony Orchestra, San Francisco Opera, Royal Opera House Covent Garden, Lyric Opera of Chicago, Los Angeles Opera, Canadian Opera Company, Opera Philadelphia, Deutsche Oper Berlin, Bayerische Staatsoper, and Amsterdam’s Concertgebouw.
“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.” New York City audiences have another chance to experience Jamie Barton’s Jezibaba at the Met’s Summer HD Festival, and audiences around the world can see her Fricka in cinemas in 2018/19.
"Success for Mejía…has come easy, in part, because he can relate. Mejía is a musician himself, a pianist-composer who is known for connecting on a visceral and musical level with his songwriters.” Billboard Magazine talks with Jorge Mejia about bridging worlds, genres, and cultures.
Over the past decade, Musical America has had an incredible knack for featuring "New Artists of the Month" who go on to big things. This month's follow-up on 25 of these still-rising stars includes conductor Christopher Allen and soprano Corinne Winters.
“Wheedling, cajoling, commanding, she can play the kitten, gently twitting her husband’s nose, but in this relationship it is she who is determined to wear the palazzo pants. The voice is still creamy, but when the top notes fly, the audience are pinned to their seats.” Jamie Barton sings her first complete Ring cycle at San Francisco Opera.
"An instant classic...a rigorous and eclectic work." El Nuevo Herald reviews the sold-out launch concert of Jorge Mejia’s musical memoir.
“Mezzo Jamie Barton, former HGO Studio Artist and conquering international singer, supplies heft, smoky velvet tone, and incomparable artistry…” Jamie Barton brings her Adalgisa to Houston Grand Opera’s Norma in Resilience Theater.
“Winters glides, she soars with a magnificence of coloratura that is merely the theatrical expression of a wholly consistent characterisation, sometimes coolly self-possessed in the face of tightly controlled desire, sometimes enraptured, sometimes very convincingly at the edge of despair. This is a very contemporary Violetta – musically flawless but with a convincing and enshrouding self-possession…” Corinne Winters brings her signature role to Opera Australia in the beloved Elijah Moshinsky production of La traviata in Melbourne.