You searched for Glyndebourne - OperaWire

Royal Welsh College of Music & Drama to Present ‘Don Giovanni’

OperaWire — Mon, 23 Dec 2024 05:30:49 +0000

(Photo credit: Kirsten McTernan)

The Royal Welsh College of Music and Drama has announced its opera programming for its spring 2025 season.

Mozart’s “Don Giovanni” is produced in collaboration with the David Seligman Opera School. Students will attend the stage direction of Isabelle Kettle. James Southall conducts.

Alumni of the Royal Welsh College of Music and Drama can be seen working with the English National Opera, Welsh National Opera, Opera North, Glyndebourne, as well as with opera houses throughout Europe and North America. Some opera gradudates have continued their studies at the National Opera Studio and Jette Parker Artists Programme at the Royal Opera House.

“Don Giovanni” is scheduled to take place March 29 – April 2, 2025 at the Sherman Theatre.

Read Related Stories

The post Royal Welsh College of Music & Drama to Present ‘Don Giovanni’ appeared first on OperaWire.

Glyndebourne Unveils the Entirety of its Autumn 2025 Season

OperaWire — Mon, 23 Dec 2024 05:00:45 +0000

(Photo credit: Tristram Kenton)

Glyndebourne has announced the full program for its Autumn 2025 Season.

The first mainstage operas is a revival of Floris Visser’s Festival 2022 production of Puccini’s “La bohème, conducted by Adam Hickox.

Additionally, Bertie Baigent conducts a revival of Peter Hall’s 1981 Festival production of Britten’s “A Midsummer Night’s Dream.”

Händel’s “Messiah” featuring the Glyndebourne Chorus and Glyndebourne Sinfonia closes out the mainstage season.

Glyndebourne will present Christmas concerts with sing-along carols, opera highlights and popular orchestral showpieces performed by the Glyndebourne Sinfonia and Glyndebourne Chorus. One shorter performance will take place for families with small children.

Community and participatory projects taking place are the Singing Schools network, and the One Voice Festival of Singing in partnership with Create Music. These programs give schoolchildren an opportunity to singing on stage with the Glyndebourne Chorus and members of the Glyndebourne Sinfonia orchestra.

Previously announced was the world premiere of an adaptation of Nesbit’s novel, “The Railway Children” by Mark-Anthony Turnage and Rachael Hewer. Chloe Rooke conducts.

The Autumn season is slated for Oct. 11 through Dec. 14, 2025.

Read Related Stories

The post Glyndebourne Unveils the Entirety of its Autumn 2025 Season appeared first on OperaWire.

Obituary: Soprano Jeanette Sinclair Dies at 96

Francisco Salazar — Fri, 20 Dec 2024 16:00:32 +0000

On April 11, 2024, soprano Jeannette Sinclair died at the age of 96.

Born on April 11, 1928, Sinclair was born in Camberwell, England, and went on to attend Mary Datchelor Girls’ School. She later studied at the Guildhall School of Music and Drama followed by opera with Joan Cross and with Helene Isepp.

The soprano made her debut in 1954 with Sadler’s Wells as Cherubino in “Le nozze di Figaro” and quickly followed that with her Glyndebourne debut in 1955.

She later joined the Royal Opera House in 1954 where she would perform for years in such roles as Micaela in “Carmen,” Zerlina in “Don Giovanni,” Helena in “Midsummer Night’s Dream” and Sister Constance in “Dialogue of the Carmelites.”

She also went on to appear at the Welsh National Opera, and the Camden Festival, among others.

Her repertoire included the works of Gluck, Verdi, Purcell, Handel, Berlioz, Puccini, Poulenc, and Rossini.

She made numerous recordings including “Don Carlos” with Georg Solti, “The Marriage of Figaro,” “The Mikado,” and “Dido and Aeneas.”

The post Obituary: Soprano Jeanette Sinclair Dies at 96 appeared first on OperaWire.

Obituary: Korean Tenor Sehoon Moon Dies at 40

Francisco Salazar — Thu, 19 Dec 2024 19:18:46 +0000

Korean tenor Sehoon Moon has died at the age of 40.

The Tenor began studying opera at Dankook University in Seoul and joined the Accademia Teatro alla Scala in Milan. He went on to win awards at numerous prizes including the Audience Award and Third Prize at the Tenor Viñas International Singing Contest.

In 2017, he made his debut at the Glyndebourne Festival as the Italian Singer in “Der Rosenkavalier” and went on to sing various roles at the festival including Ernesto in “Don Pasquale,” Nemorino in “L’Elisir d’Amore,” and Rodolfo in “La Bohème.” He also performed in Malmö, the Royal Opera Muscat, the Bolshoi Theatre, Opéra Grand Avignon, and the Grand Theatre in Poznań.

Moon was in the midst of a busy 2024-25 season where he was set to perform Alfredo Germont in Verdi’s “La Traviata” at the Glyndebourne Festival and Rodolfo in Puccini’s “La Bohème” at Malmö Opera.

Regarding his Rodolfo, OperaWire said, “Moon’s trenchant tenor suits nonchalant Rodolfo, and there is a gleam to his playful voice that, again, suggests a life-force at odds with the opera’s drift towards darkness. “Che gelida manina” had a boyish tenderness that marked a journey into weightier, steelier shades by his very final tortured cry of “Mimì.”

In a statement, Sono Artists said, “We are devastated by the loss of our Korean tenor Sehoon Moon, who left us on Wednesday. Sehoon, whom we represented since 2017, was an angel of a person, the kindest of souls, who touched everyone who knew him with his personality and voice of extraordinary beauty, and sense of style…We are all immensely sad to lose this very special artist and person.”

The post Obituary: Korean Tenor Sehoon Moon Dies at 40 appeared first on OperaWire.

Glyndebourne Names Three New Members to Board of Trustees

David Salazar — Tue, 17 Dec 2024 05:00:20 +0000

Glyndebourne’s Board of Trustees has three new appointments.

The new members include Karthi Gnanasegaram, Dr. Anna Mallett, and Gautam Rangarajan.

Gnanasegaram is a radio and TV presenter with a passion for classical music and sports. She has hosted live events for the Royal Ballet and Opera as well as the City of Birmingham Symphony Orchestra. Mallett is Vice President of Production, EMEA/UK at Netflix and a Trustee at ScreenSkills. Finally, Rangarajan is a Group Director of Strategy and Performance at BBC.

“I’m delighted to welcome Karthi, Anna and Gautam to the Board of Trustees at Glyndebourne. All three have exceptional credentials and experience, along with a genuine passion for opera and Glyndebourne. They join the Board at an exciting time as we count down to Glyndebourne’s 100th anniversary in 2034 and will play an important part in ensuring that the organisation continues to thrive well into the future thanks to its focus on uniting solid business acumen with creative flair,” said Lord Davies of Abersoch, Chair of Trustees, per an official press release.

The post Glyndebourne Names Three New Members to Board of Trustees appeared first on OperaWire.

Best of 2024: OperaWire’s Team on the Best Performances of the Year

OperaWire — Mon, 16 Dec 2024 05:00:14 +0000

There’s been a lot of opera in 2024. And quite frankly, there’s been a lot of good opera.

So as has become our tradition, here is a look at some of OperaWire’s editorial team’s picks for their personal favorite performances of 2024.

Matt Costello: Act three of “Götterdämmerung” – Tanglewood

It’s always a tricky thing to think about one’s “Performance of the Year.” Especially challenging when there were a great number of remarkable performances – for which, at this end of year – I am certainly thankful.

But for this exercise, I used some helpful criteria. First, was it extraordinary? Obvious one that. Then: were all the elements of the performance at the same or similar wonderful level? And finally, is there something perhaps surprising about it….even unexpected? And with that, it was easy to make a choice. This year, during their always fantastic summer season, Tanglewood and the Boston Symphony Orchestra programmed Act three of Wagner’s tetralogy finale, “Götterdämmerung.”

Extraordinary? Well, the BSO, under Andris Nelsons, always hits that mark. And the performers, remarkable as well, led by Christine Goerke’s Brünnhilde and Michael Weinius’s Siegfried. But the entire ensemble was simply wonderful.

And the surprise? That in a summer concert series, people picnicking on the lawn, candles and bubbly often spotted, such a weighty piece was scheduled, and then pulled off. And with such intense drama…despite no sets and mostly minus props, and yet riveting. Totally compelling – and I say this having been to the mecca of Wagner performances, Bayreuth.

Bernardo Gaitan: “Il cappello di paglia di Firenze” – Teatro alla Scala

This is undoubtedly one of the best shows of 2024, showcasing a fresh revitalization of a little-known gem from the operatic repertoire. This hilarious contemporary farce by Nino Rota—a prolific yet often unperformed composer in the operatic realm—shone brightly in an impeccable production that perfectly captured the work’s light and sophisticated essence.

The true triumph lay in the extraordinary cast of young singers from the Accademia della Scala, who dazzled not only with their vocal prowess but also with their acting skills. They managed to master the complex art of comic timing, offering performances full of charisma and precision that fully convinced despite not having any famous names on the marquee, but only promising students.

Moreover, Teatro alla Scala brilliantly merged the nostalgic charm of this piece with a modern and dynamic staging, resulting in a vibrant and unforgettable experience. This production not only celebrated Rota’s operatic brilliance but also left audiences with an enduring smile.

Mike Hardy: “Andrea Chénier” – Royal Ballet & Opera

2024 was a wonderfully opera-enriched year for me, making it very difficult to pick a single outstanding moment. The amazing Aigul Akhmetshina performed two brilliant stagings of “Carmen,” at the ROH and at Glyndebourne and the incredible Aida Garifulina performed a breathtaking Violetta in the ROH’s “La Traviata.”

Alas, pride of place must fall to the ROH’s production of “Andrea Chenier.” It saw superstar tenor Jonas Kaufmann return to something like his former best after a series of illnesses, not least one which clearly rendered him struggling just two weeks prior to this performance when he took part in the concert celebrating 22 years of Sir Antonio Pappano at the ROH. But this night surely must belong to the wonderful Sondra Radvanovsky who sang the most heart-rending Act three aria, “La mamma morta,” where her character, Maddalena, recounts the death of her mother. Her genuinely tear-inducing rendition was made all the more poignant by virtue of Radvanovsky still mourning the loss of her own Mother in 2022. After the performance, she told me that the last time she had sung it, her mother had been in the audience, and that getting through the aria was a huge, personal struggle.

Alan Neilson: “Il Trionfo del Tempo e del Disinganno” – Göttingen International Händel Festival

By chance, all the best performances I attended during 2024 occurred over a couple of months during the summer. All were festival productions. It was a production of Händel’s oratorio “Il Trionfo del Tempo e Disinganno,” however, that stood out. The work, although being defined as an oratorio, has received many fully staged performances over the years, albeit with mixed results; the main problem is that its lack of physical action often leads to uninteresting, static productions. Göttingen’s Händel Festival opted for a concert performance, yet the innovative approach of director Ilka Seifert and Folkert Uhde’s staging managed to create a dramatically strong reading through the use of live intimate video projections that captured the emotional depths of the characters. There were no costumes or scenery, but it did not matter; the large screen behind the orchestra focused the audience’s attention on the emotions etched on the singers’ faces in a way that was far more convincing than one finds in a normal staged performance.

The four soloists, sopranos Anna Dennis and Emöke Baráth, countertenor Xavier Sabata and tenor Emanuel Tomljenovic, produced superb readings that captured the stunning beauty of Händel’s music while revealing the essence and emotional dimensions of their characters. The Festspielorchester Göttingen, under the masterful direction of George Petrou, produced a sensitive and exquisitely fashioned performance that brought out the work’s elegant beauty along with its full emotional charge. All the elements came together perfectly to create a truly memorable performance.

Jennifer Pyron: “El Niño” – The Metropolitan Opera

Metropolitan Opera debuted John Adams’s “El Niño,” with libretto based on original sources by Peter Sellars and John Adams, to a sold out house of past, present, and future opera goers on Tuesday, April 23rd, 2024. “El Niño” is unlike anything John Adams has done before and the historical timing of this debut is uncanny. This was his fourth work to be performed at Met Opera, including “Doctor Atomic” (2008), “Nixon in China” (2011), and “The Death of Klinghoffer” (2014).

History was made on this night because the majority of the cast made their own debuts, including director Lileana Blain-Cruz, conductor Marin Alsop, soprano Julia Bullock, baritone Davóne Tines, countertenors Key’mon W. Murrah and Siman Chung, set designer Adam Rigg, lighting designer Yi Zhao, projection designer Hannah Wasileski, puppet designer James Ortiz and choreographer Marjani Forté-Saunders.

Director Lileana Blain-Cruz’s dedication to building her own creative team took this production to the new heights that Met Opera dreams about, making this the best performance of 2024. Met Opera will debut John Adams’s newest opera in 2024-25, “Antony and Cleopatra” (2022), which also stars Julia Bullock in the titular role of Cleopatra.

David Salazar: “Ainadamar” – Metropolitan Opera

Some quick shoutouts to Lisette Oropesa in “La Sonnambula” in Rome and Benjamin Bernheim in “Roméo et Juliette” at the Met Opera – two of the most vocally exquisite performances I heard all year. After watching a rather shockingly messy opening performance of “La Gioconda” at Napoli, I was not looking forward to round two. But the team came together and delivered a true knockout, a testament to the beauty of live theater and the second chances it provides. Then there’s the cast of “Die Frau ohne Schatten” at the Met, a true miracle of modern opera. Finally, Teatro Grattacielo’s production of “Beyond the Horizon” was emblematic of how new opera can truly flourish an independent scale.

But as far as THE performance of the year… I saw three of them. And they were all “Ainadamar.” Every single one of these three shows was truly mesmerizing and special. All of them different experiences. All of them revelatory. If you wanted to show people what opera could be and is, this is the perfect piece with which to do it. Because it’s more than opera. It’s a work that pushes the boundaries of what the artform can do. An opera that is truly inclusive not only in its content but in its form – it is opera, theater, flamenco, experimental art, poetry, all wrapped into one. Given the times we live in, we need the Met to champion more works like this.

Francisco Salazar: “La Forza Del Destino” / “Die Frau Ohne Schatten” – Teatro alla Scala / Metropolitan Opera

Picking a best performance is always hard, especially when there are so many memorable performances in a year. How could I forget Lisette Oropesa’s show-stopping “Sonnambula” in Rome and Asmik Grigorian’s heartbreaking “Madama Butterfly” in her Met debut? And what about the amazing production of “La Gioconda” at the Teatro San Carlo directed by Romain Gilbert, who brought opera back to its glory days? And then there was Ailyn Perez and Lucas Meachem giving it their all at the Houston Grand Opera in “Il Trovatore.” And of course, there was Freddie De Tomasso’s Met debut as Cavaradossi. But the best of the year was by far “La Forza del Destino” at the Teatro alla Scala and “Die Frau Ohne Schatten” at the Metropolitan Opera, reminding us that there is still a golden age of singers and opera.

At La Scala, Riccardo Chailly led a skillful and heartfelt performance demonstrating the many colors of Verdi’s music while Leo Muscato gave us a production of Verdi’s work that connected many periods and showed how war is essentially similar no matter the time. Anna Netrebko demonstrated a sincere musicality that was enhanced by her expressiveness, especially in her arias “Son Guinta” and “Pace Pace Mio Dio,” while Ludovic Tezier gave us a Don Carlo that was both virtuosic in its technique but also musically incisive. Brian Jagde demonstrated some gorgeous high notes and true chemistry with his colleagues, while Vasilisa Berzhanskaya, Alexander Vinogradv, and Marco Filippo Romano were exceptional in their supporting roles

At the Met, Lise Lindstrom, Elza Van den Heever, and Nina Stemme were just spectacular as the trio of divas. Nothing could prepare you for the power of these voices and the naturalism they have for this repertoire. By contrast, Micahel Volle gave a subtle and moving performance as Barak, while Russell Thomas showed that he is a tenor to look out for in this repertoire. Ryan Speedo Green was fantastic in his role and Yannick Nezet-Seguin proved to be a worthy conductor of Strauss’ music. Finally, the production by Herbert Wernicke continues to be the masterpiece of the Met and the only production this season that really deserved an HD and sadly is still not recorded for the history books.

Rudolph Tang: “The Savage Land” – China Conservatory of Music

Rudolph submitted a video in which he explains why he loves “The Savage Land.”

John Vandevert: “Khovanshchina” – Berwaldhallen

My favorite performance of 2024 would have to be Berwaldhallen’s “Khovanshchina.” With a highly adept taste for sophistication, each and every one of the soloists performed with exceptional degrees of nuance and tact. However, the star of the night was undoubtedly Nadezhda Karyazina, a brilliant actress and singer who did not express empty gestures for the sake of drama, vocal or otherwise. A stupendous performance and one that was as marvelous as it was inspiring, it was my favorite of the year.

Mauricio Villa: “Adriana Lecouvreur” – Teatro Real

I had the unique opportunity of not only attending what I consider the best performance of the year, but one of those performances which will never be forgotten. What’s the reason of this magical theatrical achievement? The combination of two astounding artists who stole the show completely and electrified the audience.

I have said many times that due to her impressive characterizations and vocal portrayal I could never be sure if Jaho is an excellent opera singer with extraordinary acting skills or an impressive dramatic actress with a depurated vocal technique and a unique personal timbre. Elīna Garanča is just beautiful – her voice, her looks, her phrasing – making her one of the best mezzo sopranos of this generation. Her stage presence is hypnotic.

And despite all the difficult singing numbers the highlight of the performance was in Act three, when the countess (Garanča) is mocking and teasing Adriana (Jaho) with signs of indifference and hate, while Adriana stands up to this attack. There was ballet happening at the back of the stage, which was crowded with the choir and soloist, but the two female artists attracted all the attention. Furthermore, they were not singing, which is even more incredible considering they were performing an opera. It was just pure acting. The strong connection and the deep realistic interpretation is something rarely achieved and very difficult to see. The confrontation of these two theatrical monsters during the whole opera was magical, hypnotic, and moving.

Christina Waters – “Partenope” – San Francisco Opera

San Francisco Opera’s production of George Frideric Handel’s “Partenope” showcased the electrifying coloratura of French soprano Julie Fuchs. In a season of operatic hits, e.g. SFOpera’s “Carmen,” as well as misses, e.g. the Stefan Herheim “Der Ring des Nibelungen” in Berlin, the Partenope production was almost flawless. In elegant 1920s costuming, in visually playful performative hijinks, and in diamond-edged vocals giving fresh energy to this comedic caper by Handel. The updated Baroque creation, featuring a trio of lovers vying in stealthy fashion for the hand of the Queen of Naples, provided virtuosic trills, runs, leaps, and embellishments with apparent and impossible ease.

At the center of the manic stage action was Fuchs, elegant and sexy in the Armani-inspired suits and satins with which she wiped the floor with her many suitors. Fuchs was joined by a brilliant ensemble, notable Alek Shrader as a Man Ray-style photographer, and superb countertenor Italian countertenor Carlo Vistoli, who made his company debut a romantic package of physical drama and liquid velvet timbre. A resounding success in this, and any season.

The post Best of 2024: OperaWire’s Team on the Best Performances of the Year appeared first on OperaWire.

Glyndebourne Appoints Laura Jukes as Director of Audiences

OperaWire — Sun, 15 Dec 2024 05:00:13 +0000

(Photo credit: Pablo Strong)

Glyndebourne has announced the appointment of Laura Jukes to the role of Director of Audiences.

Jukes joined the company as the Senior Marketing Officer in 2010. Four years later, she was promoted to Head of Marketing and led Glyndebourne through a revolutionary approach to digital marketing and audience insight. In 2020, she became Head of Communications, leading an integrated team comprising marketing, audience insight, digital media and press and PR. Since June of this year, she has fulfilled the role of Interim Director of Audience Engagement working as a member of Glyndebourne’s executive team with leadership of membership, marketing, PR, brand, insight, and content creation.

Prior to joining Glyndebourne, Jukes held roles at the Edinburgh International Festival, Traverse Theatre, and London’s Arcola Theatre.

Richard Davidson-Houston, Glyndebourne’s Managing Director, said in a press release, “I am delighted to announce Laura’s appointment to the role of Director of Audiences. Her strategic, audience-centred approach has been integral to achieving record-breaking visitor numbers and revenue this year and make her the ideal candidate to lead Glyndebourne’s efforts to keep driving audience growth as we head towards our centenary in 2034.”

The post Glyndebourne Appoints Laura Jukes as Director of Audiences appeared first on OperaWire.

Michael Mofidian Joins OWL Artist for General Management

Francisco Salazar — Fri, 13 Dec 2024 05:00:38 +0000

Michael Mofidian has joined OWL Artist Management for General Management.

The bass-baritone is an up-and-coming artist of his generation, who has been recognized for his versatile repertoire and impressive stage presence.

This season, Mofidian is set to appear in the title roles of “Il Turco in Italia” at Glyndebourne and “Le nozze di Figaro” with the Welsh National Opera. He will also make his debut at the Bayerische Staatsoper Masetto in a new production of “Don Giovanni.”

The bass-baritone has already performed at the Teatro Real, the Royal Opera, the Grange Festival, the Salzburg Festival, and the Scottish Opera. He has also performed at the BBC Proms and with the BBC Scottish Symphony Orchestra, London Philharmonic, National Symphony Orchestra, and the Accademia Nazionale di Santa Cecilia in Rome.

He has collaborated with pianists such as Malcolm Martineau, Julis Drake Keval Shah, Jâms Coleman, Sholto Kynoch, and Anna Tilbrook and has appeared at Wigmore Hall, Queen’s Hall in Edinburgh, City Halls in Glasgow, and at the Oxford Lieder and Leeds Lieder festivals.

The post Michael Mofidian Joins OWL Artist for General Management appeared first on OperaWire.

Soprano Natalya Romaniw Announces New Management

David Salazar — Tue, 10 Dec 2024 16:33:06 +0000

Soprano Natalya Romaniw has signed with Sempre Artists for general management and with InArt for European Management.

The soprano recently sang “Tosca” at the Royal Ballet and Opera and has also performed the role at Staatsoper Hamburg, Oper Frankfurt, and Deutsche Oper Berlin. Romaniw is set to perform in the world premiere of “Festen” in London and will also make her solo song recital debut at Wigmore Hall in March.

“I have long admired Natalya and her artistry,” said Kristin Cowdin, President of Sempre Artists, per an official press release. “It has been a joy to experience her rich vocalism and musicality paired with gripping and emotional performances over the years. And now, I am excited and honoured to begin partnering with her as her career and artistry continue to grow and reach new stages—while also continuing to return to companies where she’s become a fast and treasured favourite.”

The soprano has performed all around the world, appearing at National Theatre Brno, Opera Holland Park, Scottish Opera,Welsh National Opera, Opéra de Rouen, Garsington Opera, City of Birmingham Symphony Orchestra, and Glyndebourne Festival Opera, among others.

The post Soprano Natalya Romaniw Announces New Management appeared first on OperaWire.

Adam Hickox Named New Chief Conductor of Trondheim Symphony Orchestra

OperaWire — Tue, 10 Dec 2024 05:00:30 +0000

(Photo credit: The Royal Academy of Music)

British conductor Adam Hickox has been named the new Chief Conductor of the Trondheim Symphony Orchestra.

Starting in 2025-26 season, Hickox will be responsible for planning and directing symphonic productions and contributing to overall strategic planning. Earlier this year Hickox visited the Trondheim Symphony Orchestra, where he conducted Verdi’s “Requiem.”

Since graduating from the Royal Academy of Music in 2019, Hickox has made debuts with orchestras across Europe including the BBC Scottish Symphony Orchestra, Royal Philharmonic Orchestra, BBC National Orchestra of Wales, Orchestre de Paris and Gävle Symphony Orchestra. Hickox has conducted “Tosca” with Opera North, a new production of “Hansel and Gretel” at the Royal Scottish Conservatoire, and “Candide” at the Norwegian National Opera, among others. He was Assistant Conductor of the Rotterdam Philharmonic from 2019-2022. In 2021 he was invited to Tanglewood as one of the Festival’s two Conducting Fellows.

Director of Trondheim Symphony Orchestra & Opera Anne Kathrine Slungård expressed the company’s excited by saying, “We look forward to this new and exciting chapter with Adam Hickox as our Chief Conductor.” Slungård continued, “Under our current Chief Conductor Han-Na Chang, the orchestra has experienced strong artistic growth, and we are confident that Hickox will continue to develop and strengthen this direction, says.”

The conductor’s packed 2024-25 season will features both opera and symphonic performances. Notably, Hickox is scheduled to return to Glyndebourne as Principal Conductor of the Glyndebourne Sinfonia to conduct opera productions, as well as concert performances.

The post Adam Hickox Named New Chief Conductor of Trondheim Symphony Orchestra appeared first on OperaWire.

You searched for Glyndebourne - OperaWire

Royal Welsh College of Music & Drama to Present ‘Don Giovanni’

(Photo credit: Kirsten McTernan)

Read Related Stories

Opera Profile: Mozart’s Genre-Shifting ‘Don Giovanni’

Royal Welsh College of Music & Drama Announces Dame Shirley Bassey as New President

Royal Welsh College of Music & Drama Announces Sir Bryn Terfel Song Prize

Glyndebourne Unveils the Entirety of its Autumn 2025 Season

(Photo credit: Tristram Kenton)

Read Related Stories

Daniel Johansson, Huw Montague Rendall, Louise Alder & Kateřina Kněžíková Lead Glyndebourne Festival’s 2025 Season

Glyndebourne Appoints Laura Jukes as Director of Audiences

Glyndebourne to Present Largest Mainstage Community Opera in its History

Obituary: Soprano Jeanette Sinclair Dies at 96

Obituary: Korean Tenor Sehoon Moon Dies at 40

Glyndebourne Names Three New Members to Board of Trustees

Best of 2024: OperaWire’s Team on the Best Performances of the Year

Matt Costello: Act three of “Götterdämmerung” – Tanglewood

Bernardo Gaitan: “Il cappello di paglia di Firenze” – Teatro alla Scala

Mike Hardy: “Andrea Chénier” – Royal Ballet & Opera

Alan Neilson: “Il Trionfo del Tempo e del Disinganno” – Göttingen International Händel Festival

Jennifer Pyron: “El Niño” – The Metropolitan Opera

David Salazar: “Ainadamar” – Metropolitan Opera

Francisco Salazar: “La Forza Del Destino” / “Die Frau Ohne Schatten” – Teatro alla Scala / Metropolitan Opera

Rudolph Tang: “The Savage Land” – China Conservatory of Music

John Vandevert: “Khovanshchina” – Berwaldhallen

Mauricio Villa: “Adriana Lecouvreur” – Teatro Real

Christina Waters – “Partenope” – San Francisco Opera

Glyndebourne Appoints Laura Jukes as Director of Audiences

(Photo credit: Pablo Strong)

Michael Mofidian Joins OWL Artist for General Management

Soprano Natalya Romaniw Announces New Management

Adam Hickox Named New Chief Conductor of Trondheim Symphony Orchestra

(Photo credit: The Royal Academy of Music)