It’s finally here – the full recording of Houston Grand Opera's 2023 production of Massenet’s Werther is now streaming on Spotify, Apple Music Classical, and Amazon Music – conducted by Roberto Spano, and featuring the HGO orchestra and a star-studded cast, including soprano Jasmine Habersham as Sophie. "Soprano Jasmine Habersham’s Sophie was fresh-voiced and breezy." ( Texas Classical Review ) "Lighthearted moments in “Werther” come at a premium, but they do exist: in soprano Jasmine Habersham as Charlotte’s younger sister Sophie, whose pure youthful ebullience at times seems like she could single-handedly vanquish the growing romantic angst around her..." ( Houston Chronicle ) "The vocal quartet is completed with high-quality artists: soprano Jasmine Habersham as Charlotte’s sister and baritone Sean Michael Plumb as Albert." ( EarRelevant ) Stream on Apple Classical Stream on Spotify *Apple & Spotify links for mobile apps And check out the Backstage Pass interview Jasmine did with Houston Grand Opera last year, all about the production, her character Sophie, and her fast-rising career.

Bass Julian Close left his indelible mark on the Longborough Festival's Der Ring des Nibelungen this past summer. Julian portrayed the memorable characters of Hunding in the cycle's second opera, Die Walküre, and Hagen in its finale, Götterdämmerung . Across the board, he was lauded for his strong, dark-timbered bass and his menacing stage presence. Check out some of his excellent mentions below. "We met Julian Close earlier in the week as Hunding ( Die Walküre ), and here he returned as the calculating and icy Hagen, his oak-aged tones adding much to a brooding portrayal enhanced by an unnerving stillness, his minimal movement generating maximum impact." -Read the full review on Opera Today "I admired Julian Close as a strong Hunding in Walküre , and in the final opera he gave a gripping portrayal of the cleverly scheming Hagen." -Read the full review on The Article " Julian Close embodies a Hunding who is all of a piece and very menacing, with a voice whose dark timbre is as much appreciated as the beauty of the vocal line." -Read the full review on Classique News "If Hagen feels the dominant force in the opera, it is also because Julian Close’s portrayal of him is so commanding. His powerful bass captivates the listener with its darkness, strength and security, and he skillfully presents Hagen as a figure who has been totally numbed by being born with no love, and with the sole aim of obtaining the ring." -Read the full review on Music OMH

For her house début as Carmen with Theater Hagen, mezzo-soprano Melissa Zgouridi has received a slew of rave reviews highlighting her "velvety" voice and "seductive" and "sensual" portrayal. Check out a few of our favorites below. Theater Hagen's Carmen runs through February 20, 2025. “Melissa Zgouridi is an outstanding choice for the title role. With her velvety, dark mezzo-soprano, she portrays a Carmen full of fire, setting men's hearts ablaze. She begins with an intensely seductive presentation of the famous ‘Habanera’ & shows absolute mastery with the castanets in the second act…She also gives moving performances in the card scene & in the final [duet]…” -Read the full review on Online Musik Magazin Some more great mentions Melissa has received for Carmen: Ruhr Nachrichten: "Instead of being excessively sensual and lascivious, Melissa Zgouridi portrays the lead role as strong, self-assured, and vulnerable. Her Carmen is not a walking adjective. She is a mature, multi-layered character. This is also reflected in her singing, which at times is casually provocative, at others dark and heavy, captivating the entire hall. With her, the well-known opera classic feels entirely contemporary.” Westfalenpost: "Melissa Zgouridi impresses as Carmen. Her portrayal is marked by a commanding stage presence and a versatile mezzo-soprano of velvety warmth. She masterfully captures the many facets of the role, from subtle coquettishness to dramatic outbursts, bringing them to life with remarkable nuance." Neue Musikzeitung: "Melissa Zgouridi, a wonderful mezzo, is the perfect choice for Carmen. She brings incredible presence to every aspect of the role, giving her character strikingly clear definition." Nachrichten-ag.de: "Melissa Zgouridi impressed in the role of Carmen as a mezzo-soprano, revealing the various facets of her character through a commanding stage presence and nuanced portrayal." Radio Hagen: “The premiere ended in thunderous applause for the fantastic singing from Carmen (Melissa Zgouridi) and Don José (Jongwoo Kim).”

Last month, bass-baritone Kyle Albertson reprised his Baron Scarpia to great acclaim In Pittsburgh Opera's production of Tosca . In what is becoming one of his signature roles, he was heralded for both his impressive vocal power and his larger-than-life stage presence. Check out some of the rave reviews below. “Kyle Albertson’s interpretation of Baron Scarpia, the villainous chief of police, was virtually the last word on the subject. His baritone voice is so powerful that he could be heard over the full orchestra, chorus, organ and canon blasts that bring the first act to a close. Vocally, dramatically – his performance was one that won’t be forgotten any time soon.” -Read the full review from onStage Pittsburgh “Perhaps most impressive is baritone Kyle Albertson as Baron Scarpia. His villainous role, of course, is over the top, but Albertson carries it with refined composure and breath-taking energy.” -Read the full review from Entertainment Central Pittsburgh “Kyle Albertson’s Scarpia, the corrupt chief of police, was especially excellent Saturday, bringing plenty of vocal heft but also enough color and nuance to his melodies to give a more three-dimensional picture of the opera’s zealous villain than other productions I’ve encountered.” -Read the full review from the Pittsburgh Post-Gazette

Reviews are in for Manhattan Theatre Club and Signature Theatre's Off-Broadway world premiere co-production of Dominique Morisseau's Bad Kreyòl , which opened October 28 on the Irene Diamond Stage at Pershing Square Signature Center. Jude Tibeau, shines as Pita, housekeeper and friend to high-end boutique owner Gigi. Check out some out Jude's rave reviews below. All photos: Matthew Murphy Jude Tibeau’s Pita also stands out. As a gay man having to navigate so many obstacles, he puts on a brave face, concealing his struggles with a wry sense of humor. It’s a bravura performance which he delivers with tremendous pathos. -Read the full review from New York Stage Review With captivating warmth and charm, Jude Tibeau gets big laughs as Pita while serving as the additional heart of the story as he expands Simone’s understanding of Haitian life. During one heart-to-heart in which Simone laments feeling out of place both in America and Haiti, Pita reminds her that being Haitian is not his only identity, and there are sides to himself he cannot set free as easily as she could across the ocean, declaring: “You are between worlds, so am I.” -Read the full review from TheaterMania Fedna Jacquet’s Lovelie exudes a quiet but fierce dignity that’s shared by Jude Tibeau’s more extroverted, comical, and altogether delightful Pita. -Read the full review from The New York Sun

Jasmine Arielle Barnes, Deborah D.E.E.P. Mouton, and Kamala Sankaram OPERA America announced the recipients of five grants in support of new works by women composers as part of its Opera Grants for Women Composers program, supported by the Virginia B. Toulmin Foundation. These Commissioning Grants promote the development of new works by women and bring visibility to women composers in the field. Recipients included: the American Lyric Theater in support of She Who Dared, composed by Jasmine Arielle Barnes with a libretto by Deborah D.E.E.P. Mouton Opera on Tap in support of The Singing Cabinets , composed by Kamala Sankaram Read the full press release here

Music by : Jasmine Barnes Libretto b y: Langston Hughes Duration: 25 min Commissioned: Seattle Choral Company . P remiered: Seattle's historic St. Mark's Cathedral. This piece is inspired by the poetry of Langston Hughes, one of America’s most celebrated Black poets, and uses Hughes’ reflections on the four seasons as its foundation. FORCES Singers: Soprano Alto Tenor Bass- Baritone (Chorus) Orchestration: Strings Percussion Project Statement Growing up in Baltimore Maryland’s public school system, I spent many years learning Langston Hughes’ poetry. I was always intrigued by the meaningful and poignant text he’d write. Poems like “Mother to Son”, “I, Too”, “Dreams”, and so many others, but I wasn’t privy to the poems of EPOCH OF HUGHES — “Poeme d’Automne”, “Winter Moon”, “An Earth Song”, and “Summer Night” — in my childhood. I learned of Margaret Bonds’ setting of “Poeme d’Automne” and “Winter Moon” a few years ago, both from her song cycle with Hughes,“Songs of the Seasons”. I’d like to say I created my own interpretation of these poems, and as a fellow Black Woman composer, I’m proud to follow in her footsteps and create my own setting of this gorgeous text. “These poems collectively tell a story of an epoch, or a passage of time, in Hughes’ life, serving as an homage. Each poem reflects the world around the poet. I chose to immerse myself in the soundscape of Hughes’ life while incorporating elements of my own musical language. Overall, I believe this piece captures the vastness and complexity of American music.” Reviews " J asmine Barnes brings Langston Hughes’ poetry to life in Epoch of Hughes as she takes the listener on a dynamic journey from season to season. Her writing is rich with meaning and illustrates with both precision and vibrancy.."- Seattle Choral Company MEDIA

...love, joy, jealousy, despair, anger or wrath, he goes through all the basic human emotions. Otello is demanding both physically and vocally, so if you are unable to see the different looks on my face showing my emotions, you’ll hear the contrast of emotions in my voice. This weekend, two lucky Seattle-area audiences will be in attendance for the thrilling role debut of Errin Brooks as Otello in Verdi's Shakespearean masterpiece. Having recently covered the role at The Metropolitan Opera, Brooks is ready to officially debut the role with Vashon Opera. Whether it is Vashon, the Met...you will always get my absolute best. Vashon has welcomed me with open arms and the state of Washington has been so good to me. Performances are September 20 and 22. Tickets can be purchased here . Read the rest of the Errin's feature in the Vashon-Maury Island Beachcomber

Superstar soprano Kathryn Lewek returned to the esteemed Salzburg Festival last month for Offenbach's Les contes d'Hoffmann . Ms. Lewek portrayed Stella, Olympia, Antonia, and Giulietta in the production, or all Four Heroines as they're often called. Her tour de force performance received universal acclaim from reviewers. Check out a few highlights below. All photos: Monika Rittershaus ...the night was ruled by Kathryn Lewek. I think we can all agree that it’s extremely commendable for a singer to perform all four female roles in one night. While Lewek’s performance throughout the  opera was outstanding, her Antonia act was clearly the highlight...never before have I heard a lyric voice with such refinement and care, especially in the dramatic scene where she overhears the spectral voice of her mother. Lewek’s tone, full and rich, achieves moments of high dramatic tension without compromising the elegance of her sound. Her Antonia is, above all, a class act—refined and smooth. Her Olympia showcases her extremely flexible voice and charming coloratura, which has captivated Met operagoers in her many performances as the Queen of the Night (and proved that she should be much more than that one role there)...her Barbarella-inspired Olympia aria was actually amusing without resorting to the usual operatic gimmicks—perhaps the best scenic solution of the night, in my opinion... -Read the full review from  OperaWire   The American soprano Kathryn Lewek, on the other hand, appears both visually and acoustically to be an extraordinary master of transformation. As requested by Offenbach, she sings all four major female roles herself...In doing so, she makes it clear, psychologically quite understandable, that the Stella in Hoffmann's framework story is identical to the three lovers in his "tales". The fact that a singer can portray the mechanical coloraturas of Olympia, the human warmth of Antonia and the cunning of Giulietta equally convincingly is sensational. -Read the full review from  Bachtrack In Kathryn Lewek, who sings all of Hoffmann’s women, Clément has found an ideal protagonist — strong, charismatic and with both secure coloratura of bell-like purity and a warm, seductive lower range. This doll is nobody’s plaything; this woman is an artist on the hunt for equality. -Read the full review from  Financial Times

Baritone Kenneth Overton's latest album on Lexicon Classics debuts this Friday, August 30. What Dreams We Have: The Poetry of Paul Laurence Dunbar, with pianist Casey Robards, features 21 songs by 8 different composers which are centered around the world premiere of a new song cycle written by Anthony J. Patterson. You can pre-order the hard copy that will be mailed to you in Mmd to late September or the digital version that will automatically download on August 30th. As an added bonus, the digital download version will also include in-depth liner notes about Dunbar and the 8 composers by Dunbar Scholar, Dr. Minnita Daniel-Cox. You can also stream the album on Spotify, Apple Music, and Amazon Music starting on Friday. PRE-ORDER HERE SPOTIFY APPLE MUSIC AMAZON MUSIC

The 2010 Ricky Ian Gordon musical  Sycamore Trees is finally getting a cast album, via a hybrid of live and studio recordings. The release will hit digital and streaming platforms August 30 via PS Classics, with a limited run physical CD edition following September 20. The autobiographical musical premiered at Virginia's Signature Theatre in 2010. The upcoming album has been assembled from an archival recording of a live performance from sound designer Matt Rowe and new studio recordings from the original cast to fill in some blanks. Press notes tease a finished product that reflects both the work's live performance and "the precision and expansiveness of a studio mix." The autobiographical musical premiered at Virginia's Signature Theatre in 2010. The upcoming album has been assembled from an archival recording of a live performance from sound designer Matt Rowe and new studio recordings from the original cast to fill in some blanks. Press notes tease a finished product that reflects both the work's live performance and "the precision and expansiveness of a studio mix." Continue reading on Playbill.com Farah Alvin, Judy Kuhn, and Ricky Ian Gordon

The creative team of composer B.E. Boykin and librettist Jarrod Lee' s had a triumphant world premiere of their latest work Two Corners at Finger Lakes Opera this past weekend. Exploring the friendship between Florine, a Black woman, and her childhood friend Sarah, a white woman in rural Alabama during the civil rights movement, Two Corners tells a poignant yet simple story with a much more layered and complicated meaning. " Boykin ’s score is tender and nostalgic, but not so driven by the past that it skirts the emotional honesty demanded in the present by librettist Jarrod Lee ’s direct language in the text. Lee ’s distillation of this story — based on the real-life experiences of the composer’s grandmother, Florine, who grew up Black alongside her white friend Sarah in 1950s Alabama — bears the implicit message that true unity is only possible when we share in one other’s pain and even accept culpability for how our actions or inactions contributed to that pain." "... Boykin ’s harmonic language is straightforward and easily understood — a big plus in a storytelling medium where convoluted layers of meaning are more often than not the norm. Throughout, the music has an enduring lyrical sensibility. In key moments in the drama, Boykin turns to bits of vintage pop sounds and even gospel textures." Baritone Joshua Conyers (center right) as Hollis and mezzo-soprano Rheanna Thelwell (far right) as Julia | KELLY KESTER PHOTOGRAPHY Baritone Joshua Conyers and mezzo-soprano Rehanna Thelwell were stand outs as Florine's husband Hollis and Florine's mother Julia, respectively. "As Florine’s husband Hollis, baritone Joshua Conyers is warm and endearing. His climactic performance of the classic hymn “How Great Thou Art,” in a beautiful arrangement by the composer, was transcendent." "Mezzo-soprano Rehanna Thelwell is mesmerizing as Florine’s mother, Julia, singing with a rich, unpretentious tone. Her exhortation to a young Florine to “Be careful” comes across as a kind of stirring lullaby." Also notable was the skillful directing of Kimille Howard . " The story is simple, the meaning complicated — and  under the fluid musical direction of FLO Artistic Director Gerard Floriano from the podium and Kimille Howard ’s clear stage direction, the opera flies by at a brisk pace." Read the full review here! Composer B.E. Boykin, Librettist Jarrod Lee, and Director Kimille Howard