Username:
Password:


Forgot your password?
View Photo Credit  
Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
Recent Headlines
Main Page Artists Artistic & Production Administrators Board/Governance Education Finance/General Operations General Directors Marketing/PR Trustees/Donors
About the Headlines
Please note: Publications move online articles to their archives after a certain period. Therefore, articles listed here may only be available online for a short time. Some online publications may also require registration before you can read an article.

Headlines RSS Feed
Subscribe to this feed.

Submit a Headline
If you come across headlines that you feel should be listed here, please copy and paste the link below:
Link:  
Your E-Mail:  



Press Releases & Season Announcements
Would you like your press releases and announcements featured on the OPERA America website and in OperaLink? Submit the url to your announcement in the "Submit a Press Release" section. Press releases must be hosted on your own site or through a third-party site like Google Docs or PitchEngine. Please contact Patricia K. Johnson at PKJohnson@operaamerica.org with questions.
Please send all season announcements to Nicholas Wise (NWise@operaamerica.org), Communications and Publications Manager.
Main Page Headlines
2nd conductor resigns from Vienna State Opera
Associated PressThe Washington Post
The Vienna State Opera has lost Bertrand de Billy — its second star conductor in less than two weeks.
'Massive' Klinghoffer Protest Planned for Met Opening Night
Susan ElliottMusical America
The “Coalition Against the Met Terror Opera” (CATO) has announced a “massive” protest scheduled for Sept. 22 starting at 4:30 p.m. It promises “thousands” on hand to declare their disgust with an “opera promoting terrorism, anti-Semitism, and anti-Zionism.”  ...CATO is protesting John Adams’s The Death of Klinghoffer, which opens Oct. 20.
No death knell: Pittsburgh symphony and opera strive to attract newcomers
Elizabeth BloomPittsburgh Post-Gazette
On a Thursday evening in May, a couple hundred patrons dressed in jeans or formal wear filed into the ornate lobby of Heinz Hall.

They weren’t there for a Pittsburgh Symphony Orchestra concert. They were there for happy hour.

It was nothing fancy: Guests sampled snacks provided by Downtown restaurants and sipped wine as the White Tie Group, a jazz band made up of symphony musicians, performed.
New Orleans Opera extends contract with director Robert Lyall through 2017-18 season
Chris WaddingtonThe Times-Picayune
The New Orleans Opera Association has extended its contract with Robert Lyall, the maestro who serves as general and artistic director for the company. The announcement came in an email sent late Sunday (Sept 14).
Tobias Picker On His Family Opera, "Fantasic Mr. Fox"
Nathan ConeTexas Public Radio
Composer Tobias Picker has written three symphonies, eight concertos, and scores of works for solo piano, chamber musicians, and voice. But in his role as Artistic Director of Opera San Antonio, his focus is on the stage. For the opening of its inaugural season, Picker has selected one of his own works, and one designed to open the doors for all ages to an art form that engages the senses in unparalleled fashion. "Fantastic Mr. Fox" was Picker's second opera, written in 1998 for the Los Angeles Opera.
Quiz: How much do you know about Handel's operas?
Tom Service, Imogen TildenThe Guardian
With Xerxes back at English National Opera, find out if you're up to speed on Handel's many, many operas
Metropolitan Opera reduces non-union jobs in expected cost-cutting move
StaffNew York Business Journal
The New York Metropolitan Opera is proceeding with layoffs weeks after reaching new agreements with its unions, a dispute that had threatened the start of the opera’s fall season.
Opera reports strong ticket sales, record-breaking fundraising
Anne ConstableSanta Fe New Mexican
The Santa Fe Opera reported this week that ticket sales for the 2014 season were the second highest in history: $8.7 million, compared to $8.8 million in 2013. Attendance was more than 78,000.
Meet OPERA San Antonio's Resident Conductor Andres Cladera
Opera DeskBroadway World
Andres Cladera is an indispensable member of the creative team that will bring Fantastic Mr. Fox to life. Leading the small orchestra of seven musicians is just one of the tasks that fall under the responsibility of this talented young conductor, a native of Uruguay. Andres is also in charge of coordinating a smooth flow between the orchestra and the singers from second to second and oversees the entire musical dimension of the opera.
Love/hate: Opera lovers sing the art form's praises
StaffSan Jose Mercury News
The culture vultures win! Clearly a love of opera runs deep in the Bay Area, if our latest Love It/Hate It cultural smackdown is any indication.

Our longtime opera reviewer, Richard Scheinin, squared off against colleague Martha Ross on the topic, and we asked you readers to weigh in. Not a single opera hater responded. So if you, like Ross, wish you could warm up to opera but didn't want to say that publicly, then read on. The passion may persuade you.
What makes a musical leading lady?
Mark LawsonThe Guardian
The word "diva" was co‑opted from opera to refer to powerful women in other fields. But, in three shows being staged this autumn, the metaphor is reversed by turning non-singing high-achieving controversial figures into musical leading ladies.
Photo Flash: First Look at Two Operatic Musicals at TNC - RAPPACCINI'S DAUGHTER and OUT THE WINDOW
StaffBroadway World
Theater for the New City, Crystal Field, Executive Director, and The After Dinner Opera Company present "The Power of Love", two new american operatic musicals adapted from classic works: Seymour Barab's operatic parody "Out The Window", based on Georges Feydeau's Farce "Par La Fenetre", and "Rappaccini's Daughter", a musical tale with music by Michael Cohen and libretto by Linsey Abrams, based on Nathanial Hawthorne's Gothic Short Story. BroadwayWorld has a first look at the cast in action below!
Metropolitan Opera Changes $25 Tickets Program
Michael CooperThe New York Times
The Metropolitan Opera is modifying its program that offers $25 tickets in some of the priciest sections of the opera house by moving it onto the web this season, rather than having patrons physically wait in line for a chance at seats.
London's Royal Opera targets youngest-ever audience
David MillikenReuters
Britain's Royal Opera House will open its doors to children as young as two when its new season starts on Thursday, as the 282-year-old institution seeks a new generation of music-lovers.
Santa Fe Opera reports record fund-raising, second highest ticket revenues
Jackie JadrnakAlbuquerque Journal
More than 78,000 people attended performances at The Santa Fe Opera this summer, yielding $8.7 million in ticket sales, the second highest amount of ticket revenue collected in any season, according to Santa Fe's end-of-season report.
Magda Olivero, Frenzy-Inspiring Soprano, Dies at 104
Margalit FoxThe New York Times
Magda Olivero, an Italian soprano who for decades whipped audiences around the world into a frenzy of adulation that was operatic even by operatic standards — despite the fact that by her own ready admission she did not possess an especially lovely voice — died on Monday in Milan. She was 104.
Sacramento classical music groups receive $1.1 million windfall from estate of former U.S. Forest Service worker
Edward OrtizThe Sacramento Bee
Three classical music organizations in the Sacramento region will share in a $1.1 million bequest from the late J. David Ramsey, a former U.S. Forest Service worker. It’s the most significant gift ever earmarked for classical music through the Sacramento Region Community Foundation, which has been overseeing such gifts since 1983.
Why can't we hear more English operas?
Rupert ChristiansenThe Telegraph
Rupert Christiansen makes the case for staging rarely performed British operas. 
Domingo Extends Contract as General Director of Los Angeles Opera
Michael CooperThe New York Times
Plácido Domingo has extended his contact as the general director of the Los Angeles Opera through the 2018-19 season, the company announced Friday.
Seductive Nahuatl opera to premiere in Mexico City
Natalia CanoThe Wichita Eagle
Three young women surround a muscular, shirtless man, laughing, hugging and caressing his neck as he rocks his head back in pleasure.

A dozen musicians pound out a furious rhythm with pre-Columbian traditional wooden drums, rattles and flutes. Above the stage, a screen translates their flirtatious song into Spanish from the original Nahuatl language.


La Scala's catcalling loggionisti continue their restiveness
Lizzy DaviesThe Guardian
In 2006, the Franco-Sicilian opera divo Roberto Alagna had one of the most infamous tantrums in musical history when he stormed off stage at La Scala during a production of Aida. The cause? A handful of boos from the cheap seats where the opera house's purists sit in judgment. Alagna later described the hostility of the so-called loggionisti as a humiliating "death blow" which had left him broken-hearted. He has never been back.
Metropolitan Opera Live in HD Struggles to Hit High Notes
Carlton Wilkinsonmainstreet.com
One of the successes touted by Peter Gelb during his term as the Metropolitan Opera's general manager has been the development of the group's Live in HD program, live operas broadcast to many theaters around the world in high-definition video.
Smells Like Team Spirit In his latest Off the Cuff, The Dallas Opera's Keith Cerny writes about the importance of having an eye for the right team.
Keith CernyTheater Jones
As regular readers of this monthly column will know, I have written about the role of the General Director & CEO in defining an opera company’s strategy, developing compelling programming, managing complex technologies onstage and off, leading the company’s branding efforts, and ensuring efficient operations. One important area that I have not described before, which is of particular significance to my own leadership style, is the role of the General Director and CEO in talent recruitment and team-building. In fact, one of the great thrills for me of this unique job is identifying superior talent, whether it happens to be artistic, financial, or operational, and developing an environment where these individuals collaborate to produce the best possible result. 
Korngold’s ‘Tote Stadt,’ one century later
Jeremy EichlerThe Boston Globe
When Odyssey Opera performs a keenly anticipated concert version of Korngold’s opera Die Tote Stadt next week, it will be, strange to say, the first Boston performance of a once enormously popular work that premiered in 1920. The question of why it took nearly a century for this significant score to arrive here is natural to wonder, and not so simple to answer.
Opera: Dvořák’s first opera performed for the second time
StaffPrague Post
The Dvořák Prague festival is paying an extraordinary tribute to its namesake composer: on Sept. 17 it will present a concert performance of Antonín Dvořák's first opera, Alfred, written when he was 29 years old, not performed since 1938 and now to be given for the first time ever with the German text to which he composed it.


Planet Opera: Performances Not to Miss in the 2014-2015 Season
Fred PlotkinOperavore
For the intrepid opera fan, there should be plenty to savor in the 2014-15 season. Below are ten global cities (including one tour) featuring noteworthy opera events.
Verdi’s Otello: a role to approach with caution
Stuart SkeltonThe Guardian
Described as a ‘voice killer’, it is one of the most demanding parts in opera. Tenor Stuart Skelton explains why he is now ready to take it on.
This Is What Downsizing Looks Like: the San Diego Opera
Ruth McCambridgeNonprofit Quarterly
The 49-year-old San Diego Opera almost suffered an untimely death this past summer when the board voted to close it down, despite the fact that it was not running a deficit and had no debt. The decision seems to have been partially based on some assumptions about the viability of opera companies everywhere. In the end, there was a stakeholder rebellion and the company was rescued by a loose coalition of volunteers. Meanwhile, the board’s vote to close the opera resulted in $2.23 million in donations to keep it open and, reportedly, there has been a 285 percent increase in first-time subscribers this year over last.
Fall preview: From ’Florencia in the Amazon’ to ‘Dragon Rhyme,’ fantasy resounds in D.C.
Anne MidgetteThe Washington Post
Fantasy in opera? The canon features dozens of fairy tales of water sprites (Rusalka) and princes (The Magic Flute), giants and dragons (Wagner’s Ring), in which music swirls around and buoys the plots of magical stories. 
Vienna State Opera’s Music Director Resigns
Michael CooperThe New York Times
The Vienna State Opera was thrown into turmoil just days after its new season began when its general music director, Franz Welser-Möst, resigned on Friday and withdrew from all his scheduled performances there, citing “irreconcilable differences of opinion regarding the company’s artistic planning and profile.”
Kaminsky’s transgender opera “As One” makes a poignant and remarkable premiere
Eric C. SimpsonNew York Classical Review
American Opera Projects has produced a number of significant new pieces in its twenty-five-plus years, and the company’s latest does not disappoint. Premiered on Thursday night in the Fishman space at BAM’s Fisher building, As One, a ninety-minute chamber opera, is a rich addition to the repertoire. 
Don't Miss the Opera in the Pit
Daron HagenHuffington Post
I am occasionally asked, on panels, and in master classes, why it is important for an opera composer to write well for the orchestra, do their own orchestrations, and use it for more than mere accompaniment to what's going on twelve feet above.
30 Days of Opera aims to shake up Memphis
Jon W. SparksMemphis Commercial Appeal
As Ned Canty puts it: “We’re turning the opera house inside out.”

When Canty came to Memphis 3½ years ago as general director of Opera Memphis, he saw a need to shake things up, rattle some assumptions and roll out the music. An idea that he started two years ago was 30 Days of Opera, a plan to have at least one public opera-related event every day for a month.
Battle Cry A new opera explores the traumatic aftermath of combat.
Deborah KennedyWillamette Week
Midway through The Canticle of the Black Madonna, a war veteran named Adam curls into the fetal position. Discordant, frenetic music plays as Adam relives the deaths of his fellow soldiers in a grenade attack in Afghanistan. Over and over, he poses the same question: “Why them and not me?”

Opera and the battlefield have long been good bedfellows, perhaps because the latter packs an inherent dramatic punch. From Bellini’s I Puritani, set during the English Civil War in the 1640s, to Glinka’s masterpiece of Russian propaganda, A Life for the Tsar, to Meyerbeer’s Les Huguenots, the art form has embraced the glamour and glory of war.
So You Want to Be An Opera Singer?
J. Nelson AvianceHuffington Post
Not long ago, I wrote a piece about how college ranking systems aren't useful for students looking to go into music programs. Many people thought I was spot on; a few had criticism. Let me be clear -- many of the programs in the USA Today top 10 list are great universities, and perhaps have solid music programs. 
Husband and wife share role of transgender woman in new opera
Carla SinclairThe Brooklyn Paper
“As One,” a new chamber opera premiering at the Brooklyn Academy of Music on Sept. 4, is pushing boundaries in more ways than one. Not only does it tell the story of a transgender character transitioning from male to female, but the role will be shared simultaneously by a male and a female singer.
Composer Philip Glass on his Walt Disney opera, The Perfect American
Matthew WestwoodThe Australian
PHILIP Glass, he’s everywhere. It’s not only that the composer, 77, has been writing music since his teens, and can count in his catalogue 10 symphonies, 27 operas, music for dance and theatre, and many works for ensembles of various shapes and sizes. His umpteen film scores — from stoner favourite Koyaanisqatsi to art-house dramas The Hours and Notes on a Scandal — have given him an audience far beyond the concert hall or opera house. Some of his music has even been used in Grand Theft Auto IV, the video game.
Operalia 2014 winners include Mario Chang, Rachel Willis-Sørensen
David NgLos Angeles Times
The winners of the 2014 Operalia competition were announced Saturday evening at the conclusion of the finals competition held at the Dorothy Chandler Pavilion. Tenor Mario Chang from Guatemala and soprano Rachel Willis-Sørensen of the U.S. took home the two first-place prizes.
'As One' Opera Brings Husband And Wife Stars Together For Heartfelt Transgender Role
Curtis M. WongThe Huffington Post
Opera stars Kelly Markgraf and Sasha Cooke are a husband-and-wife team who've performed together in venues around the world. Still, they're set to explore new territory as the stars of As One, a new chamber opera in which they'll each portray one side of a single transgender character.
Amid Choruses of Despair, an Aria of Hope
Adam NagourneyThe New York Times
Five months ago, San Diego Opera appeared on the brink of extinction after its board of directors, responding to the dismal economic and attendance news confronting opera companies from New York to San Francisco, voted overwhelmingly to close down after 49 years. But things did not work out that way. An unlikely coalition — opera buffs, labor unions, community leaders caught off guard by the threat of the company’s collapse and worried about the damage it would do to San Diego’s civic reputation — formed a rescue mission. 
Apocalypse Later
Terry TeachoutThe Wall Street Journal
Instead of locking out the Metropolitan Opera's musicians and stagehands, Peter Gelb, the company's general manager, agreed to a still-to-be-ratified settlement with their labor unions that will allow America's biggest opera company to open its 2014-15 season on schedule.
For a Bronx composer, opera rises out of identity struggles
Maya RajamaniThe Riverdale Press
Laura Kaminsky's first opera, 'As One,' will premiere at the Brooklyn Academy of Music on Thursday, Sept. 4. It is a collaboration between Ms. Kaminsky, who wrote the music for string quartet and developed the concept, and Kimberly Reed and Mark Campbell, who wrote the libretto.
Placido Domingo kicks off Operalia, says he's up for L.A. Opera opener
David NgLA Times
Plácido Domingo has been battling illness, but the 73-year-old general director of L.A. Opera confirmed that he is, indeed, healthy enough to take the stage for the company's season opener on Sept. 13. He made that point Tuesday by energetically kicking off his annual Operalia competition, held in Los Angeles for the first time in 10 years.
Ottawa's Opera Lyra replaces singer fired for remarks during Pride festivities
Peter RobbOttawa Citizen
A singer fired by Ottawa’s Opera Lyra for comments he made about a man wearing bejewelled fingernails is denying the remarks were homophobic.
St. Petersburg Composer's Opera Incites Violence
Sergey ChernovThe St. Petersburg Timres
The premiere of a new opera was canceled in St. Petersburg last week after both the refusal of yet another venue to hold it and an assault on the opera’s composer.

Called “New Jerusalem,” the opera composed by award-winning local composer Ilya Demutsky with librettist Artyom Suslov will not premiere in the city due to the worsening political and cultural climate, Demutsky said in an interview with The St. Petersburg Times on Aug. 23.
Oh, Susannah: San Francisco Opera Opens Its Golden Gate
Jeff KalissSan Francisco Classical Voice
The Sept. 6 company premiere of Susannah serves as a long-awaited reunion of San Francisco Opera’s general director, David Gockley, and the opera’s composer and librettist, Carlisle Floyd.
Laura Kaminsky Named AOP Composer in Residence
StaffBroadway World
American Opera Projects announces the appointment of Laura Kaminsky as its composer-in-residence commencing September 1, 2014, three days before her opera "As One" premieres at BAM in an AOP production. In this role, Kaminsky will bring broad expertise to AOP enabling the Brooklyn-based company to expand its mission of identifying, developing, and presenting new and innovative works of music theater by emerging and established artists and to engage audiences in an immersive, transformative theatrical experience.
For interns at nonprofits, don’t expect a paycheck
Kate NewmanAl Jazeera America
After college, Prisca Edwards moved to New York City and accepted an unpaid internship with a nonprofit devoted to economic and social-justice issues. She was able to stay with a family friend to save money but watched her fellow interns work late-night restaurant jobs to make ends meet, then show up exhausted at work the next morning.
AFM President Blasts NFL Super Bowl Halftime Kickback Scheme
Antoinette FollettAmerican Federation of Musicians
In what could be deemed the most colossal pay to play scheme ever, the National Football League (NFL) has reportedly asked potential Super Bowl halftime performers if they would be willing to pay the league to play at its big game.
Darren Woods : Ten Commandments of Auditioning
Darren K. Woods, Keith A. Woolfeyosingers.com
1. Always sing repertoire that you know well.

Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One


Contact Us
330 Seventh Avenue, New York, NY 10001
P 212-796-8620 • F 212-796-8621
Info@operaamerica.orgDirections
From Airport:
The easiest way to reach the OPERA America offices is to get a cab at the airport. Cost is $40-45
(not including tip).
  • JFK - Take the AirTrain ($5 - approx. 15 minutes) to the Jamaica Street Station and transfer to the Long Island Railroad (LIRR). Take the LIRR to Penn Station ($12 - approx. 35 minutes). See Penn Station directions below.
  • LaGuardia - Take the M60 Bus to the Hoyt Ave/31st Street. Get on the or Train and take that to 42nd/Times Square Station. Follow the Times Square Station directions below.
  • Newark - Take the New Jersey Transit train to Penn Station ($15 - approx. 45 min). See the Penn Station Directions below.

From Penn Station/Madison Square Garden:
Leave the station through the 7th Avenue/33rd Street exit and walk south for four blocks. The building is on
the right hand side.

From Grand Central Station:
Take the Train to the 42nd/Times Square station and transfer to the Train.
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

From 42nd Street/Times Square:
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

For more detailed directions, most up-to-date pricing or to specify a different starting location, please visit the
MTA Web site.