Music Director Malcolm J. Merriweather shares about the mission of Dessoff, its members, and plans for its centennial season.
Studio LIS carves a niche for singers whose educational experience has been unequal. Elisabeth Stevens focuses on educating singers holistically as part of her efforts to build diversity within the industry.
Since its establishment in 1967, Bronx Opera (BxO) has been providing performance opportunities for singers at the start of their careers, and their alumni have been featured on the world’s stages. Throughout the years, the company has also worked tirelessly to bring opera into
the community and expand audiences. BxO’s General Director Benjamin Spierman gives us a
glimpse into the company’s work and upcoming productions.
Chris Kelly and Stephanie McCranie, founders of The Musical Athlete and a newly engaged couple, have made it their mission to demystify physical training for vocalists and take singers to the next level.
Opernfest Prague, an innovative training environment, brings exclusive training, performance and professional development opportunities to international young artists.
Black composers and musicians have been around for centuries, but their work is just now becoming part of the canon. While opera companies and symphony orchestras began to plan works by marginalized composers in their seasons in the last few years, one group that stands out in doing this work for almost 30 years is the Boston Modern Orchestra Project (BMOP). BMOP was founded in 1996 by conductor Gil Rose and in tandem with Odyssey Opera, they are devoted to performing and recording forgotten or overlooked pieces in the hopes of bringing them back into the standard repertoire.
Discover how the English National Opera has addressed Long COVID and the accompanying breathing and anxiety problems many people face through their ENO Breathe program.
For my generation, arts education was still very much so a requirement in most if not all school systems. Upon entering the classroom, you knew that that room, however small or large it may be, was an artistic and magical place. It was a fairly common feeling in every school I have attended. Bach, Beethoven, and Brahms at one point were thought of as brothers in my mind; they were usually mentioned together. Schubert, Schumann, and Strauss were spoken in the same if not higher esteem during my tenure as a student.
I attended my first opera at The Met, The Barber of Seville, with my grandparents when I was
eight years old. For the ensuing decade, my grandfather’s tutelage nourished my nascent love of
opera. In high school, my decision to see Janáček’s Jenůfa created an unexpected schism
between my grandfather and me in our operatic appreciation, as he did not know much about
he pandemic brought about many innovations in opera, and Experiments in Opera (EiO) was especially poised to respond creatively. The company commissions new operas that are adventurous, funny, and collaborative
CS Music loves to spotlight high school programs, especially when they are as inspiring as the group at Los Angeles County High School for the Arts. Suzanna Guzman is the
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