“From Gustav Mahler's vast song repertoire, Ms. Kamarei opened her set with the dramatic "Wenn mein Schatz Hochzeit macht"; her voice instantly captivated me with its distinctive colour-palette size, a compelling command of dynamics, and a thoughtful way with words… The five Alma Mahler songs drew my companion and me into even higher regard for Ms. Karamei and Mr. Wagorn. She displayed the great power of her voice, then reined it in to an impressive piano with complete control... Mr. Wagorn was the ideal collaborator." - Oberon’s Grove “The songs were brought to life by the elegant mezzo-soprano Rebecca Ringle Kamarei whose precision with German was that of an eingeboren. Consonants were crisp and every word was given meaning. Add to that her rich timbre, meaningful phrasing, and elegant stature. Her fine performance was accompanied by pianist Bryan Wagorn who was an equal partner throughout... These songs definitely merit further hearing.” - Voce di Meche

"The vocal prowess demonstrated on last night's stage was wholly mesmerizing. . . Sarah Tucker's interpretation of Pamina had both delicate innocence and rich emotional depth, and I was blown away by her ability to sing extreme pianissimo – kudos to the orchestra as well for matching the dynamic range with sensitivity. . . Rainelle Krause sang the coloratura role with an accuracy and tenacity that I had yet to experience in live theatre, and do not expect to recreate anytime soon. There simply are not enough words to praise how Krause navigated the melismas and piercing high notes, with fantastic musicality and wickedly engaging acting, and after her aria in Act II, the audience cheered for a full thirty seconds." - Classical Voice North Carolina

ECS/NMS: The next three seasons bring two publishing partnerships to Sparks , expanding future performance opportunities at all levels of the music we commission and premiere. New Music Shelf , whose artist-led and -owned company is the perfect fit for emerging composers, publishes song SLAM anthologies curated by Sparks . In this model, the composers retain ownership of their intellectual property while enjoying the benefits of publication. The second volume of songs will be available summer of 2022. Also in 2022, we entered into a partnership with E.C. Schirmer Publishing . As a traditional publishing company, ECS provides commissioned composers the luxury of the marketing and promotion for their work. Sparks will see 7-10 of its commissioned song cycles published through ECS in a renewable, three-year “ Sparks & Wiry Cries Art Song Series” format.

"Otto Nicolai's Die Lustigen Weiber von Windsor made a delightful evening at Juilliard . . . Without damage to the story, director Tara Faircloth set the piece in the Cheeverish suburbs circa 1960 . . . Faircloth opted for a staged overture, but used it wisely to establish the personae and make clear the romantic machinations already in play. . . Faircloth translated the spoken portions into creditable English." - Opera News

"this production offered first-rate singing and acting. . . Greer Grimsley, as the High Priest, gave an assured and authoritative performance. Grimsley has been singing at Seattle Opera since 1994, and he retains his well-known power and resonance." – Seattle Times

" The demanding titular character of Tina is double-cast, with alternating performers on different nights. The night I attended, the role was being played by Parris Lewis – and what a rockstar and true triple threat she is, gracing the stage with powerful acting, intense dancing, and her amazing vocal prowess." – Twin Cities Arts

" The more melodically and emotionally complex half featured a trio of world premiere works commissioned by Thomas: To Harlem With Love by Dave Ragland, Annunciation by Damien Geter , and Love and Light by Jasmine Barnes . All three works were composed in 2022. . . The recital was beginning to feel like too much sugar. Then came Geter’s Annunciation , to an exceedingly homoerotic text by Joshua Banbury. It was here that Thomas finally exhibited the level of vocal emotionality and expressive freedom he had discussed in his interview. This was a love song inspired by lust and sweat: graphic, honest, and passionate. The score, conducted by Lucas Nogara, evokes the intricate harmonies, rhythms, and textures of Benjamin Britten and Samuel Barber. This is music that grabs the listener, as when Thomas sang, “Into my room, he reascends. Into my room and it begins. All at once like some fever dream. He comes in to engender me. Into my room he reascends. Into me. And it begins.” This was a song that was both lovingly romantic and emotionally dangerous, with Thomas as our guide into forbidden territory. “How the fruitful form moves in mine. Man in man together. Limp in ecstasy divine.” Finally exhausted, lust turns to reverie: “I will take you to a lake. Undress in the morning light. Leave nothing in our wake. Undress beloved. ... As sunlight burned on the lake, he moved in me. Ah.” Barnes’s Love and Light , which concluded the recital, further explored the freedom of coming out to face one’s true self. “A shadow of fear, not allowed to shine. I’ve mastered threat in silhouette” — a sentiment reminiscent of Ralph Ellison’s Invisible Man and the smoldering spirit in the pages of James Baldwin — gay, Black, and proud. It was refreshing. It was engaging. It was exciting." – San Francisco Classical Voice

Our Artist of the Week is American bass-baritone Kyle Albertson who stars as Prometheus in Pacific Opera Victoria’ s production of Braunfels ‘s The Birds . His 2022 season was a busy one—he performed the title role in Der fliegende Holländer and Wotan in Opera Graz ‘s Der Ring an einem Abend , and sang Angelotti in the Metropolitan Opera ‘s production of Tosca . Coming up next Albertson heads to New York to cover the role of Leporello in The Met’s production of Don Giovanni from May 5 – June 2, and to Pittsburgh to sing the title role in Pittsburgh Opera’s production of Wagner’s Der fliegende Holländer from November 11 to 19. Pacific Opera Victoria’s The Birds closes tonight, tickets are available here . When was your first singing lesson and with whom? I was 17 and in high school. My choir director, Steve Carstenson, was giving me lessons, but suggested I take privately with a college professor. The professor told me I didn’t have enough natural talent… BUT I found another one who did, and here I am, still singing, and I am pretty sure that first professor isn’t even teaching anymore. Who inspired you to sing? My grandpa was a farmer, but he sang in church every Sunday. He was the only person in a very small church singing the bass line to the hymns. Many times, the bass line ended up being louder than the melody. I loved that. Drink of choice? Whiskey If you weren’t a singer you’d be a… Political advocate What’s your favourite non-classical band? Dave Matthews Band Read full article at OperaCanada.ca

Borichevsky’s wife, soprano Kathryn Lewek, starring as Lucia, made 11th-hour suggestion. Tenor Zach Borichevsky stepped in at the 11th hour to sing Edgardo in Opéra Nice Côte d’Azur ‘s production of “ Lucia di Lammermoor .” After a series of artist cancelations because of health, soprano Kathryn Lewek, Borichevsky’s wife, suggested him to the director of the house for the jump-in. First, the production saw the baritone singing the role of Enrico drop out. Vladimir Stoyanov was called in to replace him. Stoyanov was at the Sofia airport when the call came through. Four days later, another principal fell ill, tenor Oreste Cosimo. With two principals down, the production was in dire straits until Lewek, making her role debut at the house, suggested her husband. Borichevsky saved the show with just seven hours to prepare. The couple met when the two had performed “Lucia” eight years earlier. Love was in the air in nice when Lewek and Borichevsky kissed at the end of the love duo between Lucia and Edgardo. According to reports, the kiss was quite a hit. – OperaWire

February 18, 2023 | Reaction Maestro Joseph Colaneri, music director of the Glimmerglass Opera Festival , Metropolitan Opera conductor, passionate educator and simply nuts about Verdi , is a dangerous man to know. Show the slightest enthusiasm over Met Opera Club cocktails in Manhattan for his latest project, a Sunday matinee semi-staged performance of Verdi’s Falstaff in Washington DC, and any curious opera critic will suddenly find themselves rattling south on a four hour Amtrak odyssey. Not to the capital’s Kennedy Center for the Performing Arts – a reasonable first assumption – but to the boondocks. And, why was Maryland Lyric Opera (MDLO), a company based at The Music Center at Strathmore, boasting a well constructed concert hall and thriving education establishment, but no opera house, attempting such a challenging work? The answer soon became clear. Under Maestro Colaneri’s baton we were treated to an outstanding musical and theatrical experience. Singers, chorus, orchestra and Director, David Gately, excelled themselves. Spurred on, they could do it, so the whole company rose to a seemingly impossible task. Turned out the Music Center at Strathmore is not in Washington at all. North Bethesda in Maryland. A bit like being encouraged to attend a “do” in London only to find yourself pitching up in Leatherhead. “Er, Joe, why are you doing this?” The simple truth is, like a hound scenting truffles, any prospect of conducting the work of Giuseppe Verdi sets Maestro Colaneri’s musical antennae a-twitch. “I can’t resist Verdi – and I just love Falstaff”. I get it. Verdi’s final opera is a comic masterpiece, written when he was nearly 80 in collaboration with librettist Arrigo Boito. Compelling stuff. A musical feast, Verdi creates a bravura mélange of all his styles, ending with the most remarkable fugue featuring principals and chorus. The fugue is Verdi’s “farewell”, and the work an emphatic rebuttal of Rossini’s snide criticism; “Verdi can’t write comedy”. Read full article.

A huge congratulations to Brittany Renee and the entire cast of The Metropolitan Opera's "Fire Shut Up in My Bones", which won the Grammy Award for Best Opera Recording! Brittany will reprise the roles of Destiny/Loneliness/Greta in "Fire Shut Up in My Bones" in The Metropolitan Opera's 2023-2024 season.