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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.
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Highbrow MagazineMonday, August 25, 2014
The Opera Industry’s Struggle to Remain Relevant
The Opera Industry’s Struggle to Remain Relevant
By Angelo FrancoHighbrow MagazineMonday, August 25, 2014
Before the New York City Opera became a major opera house in the industry, it started out with a simple and clear vision: to make opera accessible to everyone.  To this end, the NYCO kept admission tickets at reasonably low prices which, in turn, created some collateral and perhaps unforeseen benefits.  The company was the first to feature a black performer with an otherwise white cast and to offer a regular contract to an African-American (Todd Duncan and Camilla Williams, respectively, both of Porgy and Bess fame); it advanced the American opera industry by producing works in English by American composers, including premieres by the likes of Thomas Pasatieri; and it helped boost the careers of many performers, such as Beverly Sills and Plácido Domingo, among others. Within a few years since its founding in 1943, the NYCO had become a relevant and important addition to the international opera repertoire.
The New York TimesMonday, August 25, 2014
At Home with Renée and Plácido
At Home with Renée and Plácido
By Michael CooperThe New York TimesMonday, August 25, 2014
...after a summer of armchair travels through the classical music world: Without removing my shoes at a single airport checkpoint, I was able to watch “Trauernacht,” Katie Mitchell’s somber modern staging of Bach cantatas in Aix, check out Anna Netrebko and a baritonal Plácido Domingo in the new production of Verdi’s “Il Trovatore” at Salzburg, and hear the rising young tenor Michael Fabiano sing Alfredo in Verdi’s “La Traviata” from Glyndebourne.
The TelegraphMonday, August 25, 2014
My favourite Mozart opera
My favourite Mozart opera
By Rupert ChristiansenThe TelegraphMonday, August 25, 2014
Take a straw poll of the world's favourite Mozart opera and I guess Die Zauberflöte or Le Nozze di Figaro would come out top. But I think my vote would go to Die Entführung aus dem Serail (The Abduction from the Seraglio).
I don't think it's the supreme masterpiece, but it has all the irresistible charm and beauty of youth – charged with a romantic vitality that must reflect some of the 25-year-old composer's own optimism, newly liberated from the court of the Archbishop of Salzburg.
The TelegraphMonday, August 25, 2014
Why is opera so expensive? Well, no more than football
Why is opera so expensive? Well, no more than football
By Rupert ChristiansenThe TelegraphMonday, August 25, 2014
One question I am frequently asked in my capacity as an opera critic is why tickets are so expensive. It’s a complicated issue, but here are some pointers.
yosingers.comMonday, August 25, 2014
Darren Woods : Ten Commandments of Auditioning
Darren Woods : Ten Commandments of Auditioning
By Darren K. Woods, Keith A. Woolfeyosingers.comMonday, August 25, 2014
1. Always sing repertoire that you know well.
SoundCloud introduces ads so it can pay musicians and other creators
By Stuart DredgeThe GuardianFriday, August 22, 2014
With 175 million monthly listeners, SoundCloud is the second biggest streaming music service in the world behind YouTube. Yet it hasn’t paid royalties to the creators and rightsholders of that music for their plays on its site and apps.
Regional Affiliate Organization

Summer 2014 Magazine Issue
  • Summer Apprenticeships
  • Opera Tours for Board Members
  • My First Opera by Speight Jenkins
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