Babcock excels in two productions of "The Falling and the Rising"
- Mar 9, 2023
In Review: Slack "a wonder" as Tosca with Edmonton Opera
- Mar 9, 2023
Elizabeth Askren gives TEDxZorilor Talk on Why Classical Music is the Wave of the Future
- Mar 9, 2023
In Review: Gardner and Crider in Toledo Opera's "Suor Angelica" and "Cavalleria rusticana"
- Mar 9, 2023
CanvasRebel: Meet John Riesen
- Mar 9, 2023
Mayes "magnificent" in Atlanta Opera 'Bluebeard's Castle"
- Mar 9, 2023
In Review: Calenos as Santa Barbara's "Tosca"
- Mar 9, 2023
Soprano Marie-Eve Munger releases Maestrino Mozart to critical acclaim
- Mar 9, 2023
Ollarsaba lends his "fine, resonant bass-baritone" to Kansas City "Carmen"
- Mar 9, 2023
In Review: Colaneri, Gardner, Silvestrelli, and Li in Maryland Lyric Opera's "Macbeth"
- Mar 9, 2023
In Review: Zeniodi impresses in Opera Queensland Double Bill
- Mar 9, 2023
In Review: Terry in Brett Dean's "In This Brief Moment" with City of Birmingham Symphony Orchestra
- Mar 9, 2023
Opera News celebrates Askren, McIntyre, Gartland, and Boehler in DMMO 2022 season
- Mar 9, 2023
Opera News on Habersham, Colaneri, Ollarsaba, Pearce, and Mayes at The Glimmerglass Festival
- Mar 9, 2023
Gartland lends a "voice of true beauty" to Pittsburgh Opera "Rusalka"
- Mar 9, 2023
Soprano Jasmine Habersham is the cover story for the Fall 2022 edition of Classical Singer Magazine
- Mar 9, 2023
In Review: Boehler in Bernstein's MASS with the National Symphony Orchestra
- Mar 9, 2023
McDonald "brilliant" in OrpheusPDX "L'Orfeo"
- Mar 9, 2023
In Review: Rofrano leads "The Fall of the House of Usher" at OrpheusPDX
- Mar 9, 2023
In Review: Irvin as Older Thompson in Knoxville Opera's "Glory Denied"