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If you like Star Wars, you're gonna flip for opera: shouting into the void

If you like Star Wars, you're gonna flip for opera: shouting into the void

Maybe this is how it is for everyone that has a niche interest. Indie film lovers, college sports fans, lovers of obscure graphic novels - maybe they all bristle at the ubiquitous fandom of big-budget Hollywood movies, the NFL, DC Comics.

Jenna Simeonov
Talking with singers: Patrick Terry

Talking with singers: Patrick Terry

"I wish I had started to save money earlier. I wish I had invested in travel containers for toiletries earlier, because I cannot tell you how many tiny shampoos I have accumulated over the years."

Jenna Simeonov
Talking with singers: Soraya Mafi

Talking with singers: Soraya Mafi

"I often take for granted how lucky we are to have access to such wonderful music and music-makers in London. The rich history of classical music in London has enabled musicians to take advantage of world-class composers, conductors, teachers and venues."

Jenna Simeonov
An American Dream: an opera that hits home

An American Dream: an opera that hits home

With music by Jack Perla and libretto by Jessica Murphy Moo, An American Dream spotlights the lives of two families against the backdrop of Japanese internment by the U.S. government following the bombing of Pearl Harbor in 1941.

Michael Pecak
Appropriately strange: Frida at FGO

Appropriately strange: Frida at FGO

Frida Kahlo was Mexican, an artist, a woman, disabled, queer, Communist. Though the pacing of the opera was choppy and piecemeal, resembling a biopic in its sweeping depiction of her teenage romance, her life-altering bus accident, her revolutionary politics, and her turbulent marriage, the format was well suited to highlight the many intersecting facets of Kahlo's complex and richly lived biography.

Carly Gordon
Overstaying its welcome: WNO's Faust

Overstaying its welcome: WNO's Faust

It doesn't help that Gounod's setting is about as dusty as operas get, focusing more on the downfall (and ultimate redemption in death, of course) of Marguerite, than on Faust's own psychological struggle, this opera always comes off like a parody of a 19th-century morality play, which was only emphasized by Staley's design which could have been pulled straight out of a European theater from 150 years ago.

Molly Simoneau
Greater than the sum of its parts: Sarah Connolly at Wigmore Hall

Greater than the sum of its parts: Sarah Connolly at Wigmore Hall

Connolly, whose prolific contribution to classical performance over the course of her career - a career that has now made her a household name - garnered palpable excitement from the audience from the moment she walked on stage. She carries a sense of poise and authority as a performer, yet showed great vulnerability.

Alessia Naccarato
Talking with singers: Jacquelyn Stucker

Talking with singers: Jacquelyn Stucker

"Handel wrote this role for castrato Gioacchino Conti, who was, by all accounts that I read, a complete freak of nature: he could allegedly sing high Cs (as in, C6), and while he preferred to sing roles with more lyrical material, he was known to be equally virtuosic in how he executed coloratura."

Jenna Simeonov
BLO's electrifying Rape of Lucretia a revelation

BLO's electrifying Rape of Lucretia a revelation

This production of The Rape of Lucretia was presented as one of BLO's now-signature installation operas: in this case, much of the action was concentrated on a relatively small circle in the center of the Arts for Humanity Epicenter building.

Arturo Fernandez
Vocal versatility at its finest: Brownlee & Owens in concert

Vocal versatility at its finest: Brownlee & Owens in concert

Seated precariously close in the second row, I probably had a dorky, star-struck look plastered on my face as I took in the high caliber classical singing.

Meghan Klinkenborg

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