TENOR JOHN RIESEN SHINES ON SEMI-FINALS OF AMERICA’S GOT TALENT
- Mar 9, 2023
OperaWire: Catalina Cuervo Signs with ADA Artist Management
- Mar 9, 2023
In Review: Mayes in The Glimmerglass Festival's "The Sound of Music"
- Mar 9, 2023
Staufenbiel's "La Belle et la Bête" at Opera Parallèle "magnificent"
- Mar 9, 2023
Munger "exquisite" as Handel's Theodora with Trinity Wall Street and Caramoor
- Mar 9, 2023
In Review: Pearce, Ollarsaba, and Colaneri impress in Glimmerglass "Carmen"
- Mar 9, 2023
Five Colombian Sopranos Excelling in International Lyric Theater
- Mar 9, 2023
Babcock's Beyond Carmen at UFOMT "simply fabulous"
- Mar 9, 2023
Zabala lends "marvelously" conceived Maddy to Berkshire Opera "Three Decembers"
- Mar 9, 2023
In Review: Gartland and McIntyre in DMMO world premiere of "A Thousand Acres"
- Mar 9, 2023
In Review: Marino delights in Santa Fe Opera's "Falstaff"
- Mar 9, 2023
In Review: Askren leads "revelatory reading" of Midsummer at DMMO
- Mar 9, 2023
Babcock "superb" and "electrifying" in Utah Festival Opera's "Carmen" and "Man of La Mancha"
- Mar 9, 2023
ADA welcomes Navarro, Rofrano, and Pearce to the ADA Family
- Mar 9, 2023
ADA Artist Management Launches New Paid Professional Development Initiatives
- Mar 9, 2023
Opera “¿Y los pasteles?” breaks stereotypes about this musical genre
- Mar 9, 2023
In Review: Calenos and Vickers impress in Teatro Grattacielo "Giulietta e Romeo"
- Mar 9, 2023
Havey directs a "deeply touching" "As One" at The Atlanta Opera
- Mar 9, 2023
In Review: Marcus Amaker in "The Street" at Spoleto Festival
- Mar 9, 2023
Patrick Terry "excellent" in Grange Festival "Tamerlano