See my previous post for context. Thanks for your encouragement guys. I’m leaning towards keeping the role.

There was a little rhythmic hitch in the middle because of nerves (and a crazy fast tempo for my ability) and the F is a ghastly scream but I’m glad I can phonate it now at least. I got 5 months left to polish it!

https://voca.ro/1dIVtTDT4TFq

I have seen cosi fan tutti and macbeth. I fell in love with operas. My first french is next. I love opera romance. Any advice?

paid 18 euros for this btw, can't believe for the same price I could be watching the same opera from the center. logged in at 10am exactly today to get the ticket too

Has anyone actually scored tickets this season through the Met's same day website rush (not the lotteries)?

I had a decent track record in past seasons, even after the todaytix app lottery started (although it was much worse since then), but this season seems like another step change. The website bugs out frequently when trying to buy tickets and it seems like the quantity is severely reduced, if there are any for sale at all.

Do opera fans do this on Halloween? I kind of like the idea of the post revolutionary America setting and thought it might be fun as long as wigs are not blocking views.

**PLEASE KEEP IN MIND THIS IS MY HONEST OPINION AND SORRY IF YOU DON’T AGREE. THIS IS JUST MY REVIEW ABOUT THE SHOW

Okay, so I went to see this Opera with high expectations and hopes. I saw amazing reviews about it and that it was originally a book too! Maybe it was because I didn’t read the book but the whole show just did NOT click with me at all, and I honestly have never seen a worse show on Broadway and MET opera.
I’m sorry if you’re reading this and really loved it, but I just found the opera to not be up to par with what a MET opera should be, and these are my honest thoughts and critiques about it.

It was just really grotesque overall and gave a bad aftertaste. What’s with the ugly pig heads? And that guy in the beginning with the five foot long… yeah just ugh. The live horse at the end was, what? Just to be cool? It was so random and seemed like it tried to make up for the whole rest of the show. There was NOTHING funny throughout the whole show yet people still laughed at the most lamest and boring attempts at humor.

The singing was, let’s be honest, mediocre at best and I felt like the singing sounded more like they were talking than actual opera singing. I could not feel emotionally attached to any of the characters, I felt no connection to any of them, and the whole plot just sucked and was so basic. Could have been just an hour but instead everything dragged on for no reason. “Oh my god, we’re all dead??” That reveal to the ghosts from Willie felt so extremely empty.

I haven’t read the book and after watching this I definitely will be staying far away from it. Genuinely how was this entertaining in even the slightest degree? You could pick a book off the shelf from the library non-fiction section and find something more theater-worthy at this point! I just felt so disappointed after watching this show and it was a total waste of time. The only cool thing about the show was the set/stage, but even so, there was practically no change to it which was very boring.

The whole show felt like it was trying so hard to be different, unique, and ‘modern’ but instead ended up being some kind of wack-job test to see what people can endure in the name of ‘art’.

Thanks for reading this all and please tell me your honest thoughts. Whether you agree or strongly disagree, I totally will respect your opinions. I understand people did find this opera (and book) interesting and I’d like to figure out why exactly our tastes differ so much!

I'm adoring O Fortuna. Such powerful music! Any recommendations on which opera to try next.

I attended the performance today and needed to share it with others. It's a contemporary opera about Ukrainian women who embark on a journey to retrieve their children after the Russians kidnap them to occupied Crimea. It’s a subject that deserves to be heard, and an example of how opera can engage with what is happening in the world today.

So 2 things 1stly I’ve had hay fever for the last 2 weeks my sinuses are still so blocked and clogged, I can’t do my high notes and my most of my recital is unsingable in my current state, so how do I fix it and get back to having clear sinuses and my voice being good cause it feels really croaky and very crackly at the top now. 2 nothing is memorized and I’m getting scared so how do I actually memorize 30 mins in a week.
Edit: also probably important to mention I’m coming over a fairly severe illness that lasted 3 months

Happy World Opera Day to everyone who loves this amazing art, who works and is dedicated to it. The World Opera Day is celebrated today, 25 october

I’m going to Italy for work in a few months, and decided to seek out an opera to go to while I’m there. There weren’t a ton of options for the dates I’m there, but Teatro San Carlo is showing Madame Butterfly which I’ve never seen. So I’ve decided to go! I’m excited to see the opera but also go to the theater too.

If anyone has attended a performance at San Carlo, is there anything I should know? Especially for seats, I haven’t decided on seats yet but I’m willing to splurge for whichever seat I want.

Saw met perf this afternoon. House looked sold out. Loved the orchestration production direction, story. I just can't appreciate this style of vocal writing that I've also heard before in other contemporary works (adams). It's not atonal. It just jumps around within a line like why.

I'm a pianist and I've accompanied lots of opera so I'm familiar. I have a question about the profession since I want to work eventually in arts administration. Big opera houses don't hold auditions for main roles right? So how does the connection happen? I understand these singers have management but how does it actually work? Does their management contact opera houses? How does it work exactly? Thanks

I recently stumbled across this opera and composer, and although I can find trailers for performances I can't find a full recording. Is anyone aware of any?

https://www.youtube.com/watch?v=71L9VEdl6zY

I'm really interested in this opera — I can't believe I wasn't aware of it before.

Have been a huge fan since MetOpera competition! 🤩 recalling looking forward to his recital!

Well, my last post on this group managed a 22.2% u/d ratio, which means at least 7 down votes. Oh, dear. This was the thumbs down verdict on my.general thesis that the audience might wait until the music stops before bursting into.applause. Sorry, but why on earth would a composer write an orchestral postlude at the end of an act or opera if it was meant to be drowned out by the audience clapping as soon as the singing stopped.

Anyway,let's see if I can get below 22.2%, although my topic has I am sure already been discussed at length here, so apologies for another post along similar lines.

I give 3 examples I've seen recently (on video not live, I confess) to state my case.

1)A production of Tannhauser where the Overture was accompanied by our heldentenor apparently trying to conduct the orchestra, I think. Came the ballet, for which Wagner supplied an extensive description, and Tannhauser now went into a series of body contortions and facial expressions, presumably representing, well, I'm not sure what. Any sign of any of the characters listed in the stage directions was there none, just Venus reclining on her couch.

2) The ladies at the start of Act 2 of the Flying Dutchman in one recent video were shown spinning away with their arms, but there didn't seem to be any spinning wheels.

3)The nadir comes from Bayreuth itself, who are showing proudly a video of their past productions. The second item depicted (I think) is Lohengrin, the start of Act 3, and everybody was clad in a mouse costume.

I watched in disbelief, but it was only a short extract, so i looked up reviews from the critics, expecting some pretty scathing comments.

"Original,

thought provoking, insightful, makes you think, dunnit?" was what I got, along with detailed analysis of the deep meaning portrayed by the mice, which had different coloured costumes apparently conveying something or other. I think Lohengrin wasn't a mouse to begin with, but became one at the end, or was it the other way round? I forget.

To be fair, there were one or two dissenters, whose verdict could be summarised in a few words:

What a load of crap.

Can't keep repeating the same thing, would become a museum piece, must relate to modern times, must carry a message etc are the usual arguments.

There is plenty of scope for imaginative productions which try remain consistent with the storyline.

)

Can’t make it, DM me if you're interested.

(This is my first post. I'm a longtime lurker, first-time poster who is grateful for this subbreddit helping me connect with other opera fans!)

Just my opinion, of course.

I have until May to secure it vocally. I was cast pretty much solely because I’m the only coloratura in the program. Been working on it for the last 2 months, went from unable to phonate anything above a Eb to almost having an F…? Is it worth it to stay in this production with how it sounds right now or should I drop out? I included some audio of my rehearsal.

Current state of one of her arias:

https://voca.ro/12G9TrWYf9MM

My voice teacher is saying to wait and see. She said she’s seeing a lot of progress but we need to see where I am by March. I agree with her.

I found this opera deeply affecting and moving. I was intrigued to see how they’d adapt a Sarah Kane play into an opera. I think the lack of linear narrative and individual characterisation in 4.48 Psychosis lends itself particularly well to the opera form.

The cast, the orchestra and sound design were fantastic. The themes and ending were made all the powerful by Sarah Kane’s mental health challenges and suicide. The intimate Linbury Theatre was the perfect setting for this opera.

Interested to hear what others thought.

The Mariinsky Theatre's opera, ballet and orchestra are all out for a month long tour to China in four major cities, bringing two ballets and two opera productions, including the Asian premiere of a new production of Aida directed by Giancarlo del Mocano, son of the tenor giant del Monaco, who has enjoyed a robust career in China and Russia.

https://klassikom.substack.com/p/del-monaco-joins-mariinsky