Ahead of a free livestream this weekend, the star tenor reflected on his colleagues and career in opera and what he thinks classical music organizations should be doing to better represent their communities.
Star tenor Lawrence Brownlee’s new Facebook Live series aims to change the face of the industry through interviews with other Black opera singers and advice for aspiring Black opera singers, Brownlee explains.
A marathon 6-hour performance will be held in an unexpected (but increasingly familiar) place: Zoom! The video conferencing platform will provide the proscenium for a performance of Pauline Oliveros’ postmodern masterpiece ‘The Lunar Opera.’
Getting through winter in Chicago is tough enough, but when it’s immediately followed by a global pandemic and social distancing, it’s a real double-whammy. We’re reminded of the Prisoners’ Chorus from Beethoven’s ‘Fidelio.’
A four-hour drive southwest from Chicago and just across the Mississippi River from St. Louis sits Edwardsville, Illinois. The small city — founder Chase Hopkins’ hometown — is the site of the state’s newest opera company.
We’re glad to see that in recent decades, more and more works by women writers have been given their due in the opera house. Here’s a look back at some of them, and a short list of works by women that we’re waiting to see operatically staged.
With a story that highlights how far we’ve come and how far we still have to go, Chicago Opera Theater presents the world premiere of Dan Shore’s Freedom Ride, which centers on a pivotal moment in the civil rights struggle.
A lifelong pacifist, Britten used his music to advocate for peace. Baritone Benjamin Luxon, who created the title role of the composer’s pacifist opera Owen Wingrave, reflects on Britten’s legacy of music and pacifism.
Soprano Sondra Radvanovsky’s renowned vocal prowess is on impressive display at Lyric Opera of Chicago in The Three Queens. Also on display are three stunning gowns by designer Rubin Singer, who’s designed for stars like Beyoncé and Renée Fleming.
“It has been said that a society can be judged by the way it treats its animals,” composer David T. Little says in the program notes for his chamber opera, Dog Days. Based on a short story by Judy Budnitz, the opera is set in a war-torn future that’s not too far away from our own time.
Two operatic opus ones will have their Chicago premieres this weekend, and they both command a chorus of well over 100. Chicago Opera Theater opens its 2019-20 season with a double bill: Joby Talbot’s Everest and Rachmaninoff’s Aleko.
It’s not easy to get to Glyndebourne, and that’s the point. “We’re forcing people to slow down their busy lives,” says Gus Christie, the opera festival’s executive chairman, “and to come in and soak it all up.” Discover the multi-sensory experience – the aromas of the gardens, the taste of champagne bubbles, the sounds from the stage – that is Glyndebourne.
Audiences will be irate this weekend at the Siskel Center. No, not the people in the theater, but the onscreen audiences portrayed in In the Mouth of the Wolf. The made-for-TV documentary depicts the infamously fanatical opera culture of Parma, Italy through the lens of a troubled production of Verdi’s Luisa Miller.