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A "rejuvenated" 2020-2021 season at the Vienna State Opera

After ten years at the head of the Wiener Staatsoper, Dominique Meyer has this year taken over the direction of La Scala in Milan. He leaves his position to Bogdan Roscic, 52, whose name we recognise for having been the president of the Sony Classical label, specifically recruited by the Austrian government to "breathe new life into the Viennese institution". The new musical director will be Philippe Jordan, who arrives after years in the service of the Paris Opera, and who will...


Fidelio, a Unique Opera

In 2020, Beethoven's 250th birthday is commemorated and many opera houses take the opportunity to perform his unique opera, Fidelio. Although it was painstakingly composed, the work is today one of the references in the repertoire and shows an incredible modernity – musically, by laying the foundations for Romanticism, but also for its already "feminist" libretto. Starting on 1 March, the Royal Opera House - Covent Garden in London performs a highly anticipated new...


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...


A conversation with Rani Calderon about his first composition: opera as a cathedral

Rani Calderon is known to us from his work as music director of the Opéra national de Lorraine as well as for his interpretations as a conductor, which we have often reviewed and praised. Few know however that today he is dedicating his time to a new activity: composition. While the prelude of his opera, based on Victor Hugo’s novel “Notre Dame de Paris” (“The Hunchback of Notre Dame”), which he builds in the manner of the gothic cathedrals, was...


A conversation with Golda Schultz

After singing at the Opernhaus Zürich (La Contessa in Le nozze di Figaro) and Bayerische Staatsoper (Liù in Turandot and a special concert with Thomas Hampson and Kirill Petrenko) in July, soprano Golda Schultz performed in Mahler's Second Symphony for the closing concert of the Verbier Festival, alongside with mezzo-soprano Ekaterina Gubanova, conductor Fabio Luisi and the Verbier Festival Orchestra. We met her between two rehearsals in Verbier to talk about her repertoire...


A conversation with Karita Mattila

For her first venue at the Verbier Festival, Karita Mattila sings a selection of melodies by Duparc, as well as chosen lieder by Brahms and Strauss, accompanied by Evgeny Kissin. The acclaimed pianist took the initiative to get in touch with the star soprano for their first collaboration. We met Karita Mattila in Verbier to talk about this highly anticipated concert, her latest and next opera debuts, Wagner, and social media. *** Opera Online: Why did you choose to perform Duparc,...