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© Herwig Prammer
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Benjamin Bernheim and Julie Fuchs as Romeo and Juliet in Zurich, broadcast on Arte TV
Everything comes to those who wait. This is perhaps what Benjamin Bernheim and Julie Fuchs said before taking on the two main roles in Charles Gounod's Roméo et Juliette - to the libretto by Jules Barbier and Michel Carré, who (faithfully) adapted Shakespeare's play. The soprano Julie Fuchs was due to perform her first Juliet in 2021 at the Opéra-Comique before having to abandon it due to contamination with Covid. Benjamin Bernheim should have taken on the...
Published onthe 11 of April
Interview with Jeanine De Bique for her Alcina role debut at the Opéra national de Paris
Soprano Jeanine De Bique, from Trinidad and Tobago, has built her career on Mozart and Haendel, which has made her one of the reference performers of these composers today. In her recently released first album, Mirrors, she puts into perspective Haendel heroines with another version of who they can be in some other composers’ works of the same period. She was Rodelinda at the Opéra de Lille, Théâtre de Caen and Théâtre des Champs-Élysées...
Published onthe 19 of November
Interview with Sergey Romanovsky: “Rossini remains young forever”
Russian tenor Sergey Romanovsky is coming back to the Rossini Opera Festival for the fourth time for a new production of Elisabetta, regina d’Inghilterra – originally scheduled for last summer – and a prestigious gala celebrating 25 years of Juan Diego Flórez at the Festival. We met him in Pesaro to learn more about his debut in the role of Leicester this year and his other exciting projects. *** Opera Online : Has the additional time to prepare...
Published onthe 17 of August
Joyce El-Khoury: “Our voices are designed to share music with the world”
After studying at the University of Ottawa and the Academy of Vocal Arts in Philadelphia, Joyce El-Khoury graduated from the Metropolitan Opera’s Lindemann Young Artist Development Program. She made her world debut at Lorin Maazel’s Castleton Festival in 2010, where she brilliantly replaced one of her colleagues in the title role of Puccini’s Suor Angelica, following a performance of Gianni Schicchi. We were thrilled by her portrayal of Imogene in Bellini’s Il...
Published onthe 09 of June
Interview with Lotte de Beer, stage director of Aida at the Opéra national de Paris
Lotte de Beer made her highly anticipated Opéra national de Paris debut two weeks ago with an innovative Aida – starring Sondra Radvanovsky, Jonas Kaufmann and Ludovic Tézier – which gathers the ghosts of colonialism. She has encompassed a certain number of opera genres (Falstaff, Puccini’s Il Trittico, Carmen, Rusalka, Mosè in Egitto, Lulu…), has been appointed Director of the Volksoper in Vienna from next September, and will stage Le Nozze di...
Published onthe 04 of March
"Life is beautiful": Sonya Yoncheva, a positive, committed and open-minded artist in conversation
"perpetual music", a project initiated by In recent years, the young Bulgarian soprano has achieved great success in many different roles with her extraordinary soprano voice and acting skills, and is now a celebrated star on all major stages. Born in Plovdiv, Sonya Yoncheva studied at the local conservatory and later in Geneva. In 2010 she won the famous Operalia competition, marking the start of her...
Published onthe 08 of September
Verona Arena 2021: Sonya Yoncheva will sing Aida for the first time
Although there are still doubts about the exact course of the 2020 edition of the Verona Arena Festival (which could be based on small-scale productions for a reduced audience), the 2021 edition of the lyrical event is already the subject of special attention. In 2021, the 150th anniversary of the creation of Aida (first performed in 1871) will be commemorated, and the work obviously occupies a very special place in the Veronese programme -- the first edition of the festival in 1913 opened...
Published onthe 19 of May
A Rigoletto in the open air from July onwards to relaunch the Rome Opera House
Italy was particularly hard hit by the Covid-19 pandemic, but after several weeks of lockdown, local authorities are now considering a resumption of business, including cultural activities, and the Rome Opera House could be the first opera house to raise the curtain again. While there is no question of hosting the public in the auditorium (gatherings of more than 200 people in enclosed spaces are still forbidden in Italy and could remain so until the autumn), according to Corriere della...
Published onthe 12 of May
Simon Stone, ruthless explorer of works
In a few days, the premiere of Erich Wolfgang Korngold’s opera, The Dead City, will play in Munich’s Bavarian State Opera. Jonas Kaufmann will be appearing alongside soprano Marlis Petersen in a production by Simon Stone, created in 2015 at the Theater Basel. Let us take a look back at the career of the thirty-year-old director who has been fought over by musical and dramatic institutions alike for some years now. *** Les Trois Soeurs à l'Odéon, par...
Published onthe 16 of November
The Paris Opera presents its 2018-2019 anniversary season, at the meeting point between tradition and modernity
As a national opera, the Paris Opera has historically taken on the role of preserving France's operatic heritage and bringing French opera to life. For all that, opera is obviously a distinctly living art form and since the beginning of his mandate at the head of the Parisian establishment, Stéphane Lissner has also been committed to contributing to updating the repertoire and has been working to diversify the cultural range of France's famous Opera. This is the reason for...
Published onthe 30 of January
Preview: Royal Opera 2017/18 Season
Although Kasper Holten left the post of Artistic Director of the Royal Opera in March 2017, he played the leading role in programming its 2017/18 season and, with a good blend of new productions and strong revivals, it looks to be a particularly fine one. Some composers whose operas have been neglected in recent seasons get a look-in, while several contemporary composers also have the opportunity to present new works. Add in the fact that many evenings feature some of the world’s...
Published onthe 25 of April
Piotr Beczała, a luminous elegance
The time is long gone when popular tenors had a career in films and had their own composed-to-order repertoire, between the expressive intensity of the lyric tenor and the intimate sentimentality of the crooner. It is no accident, or mere opportunity, that Piotr Beczała devoted a recital (Deutsche Grammophon) to Richard Tauber, the irresistible protagonist of Lehár’s last operettas: such a genealogy shows that Beczala has the intelligence not to seek gallantry, the...
Published onthe 09 of August