Why Contemporary Opera Still Matters
Why Contemporary Opera Still Matters Opera is not a museum. It has never been…
The Art and Craft of Renaissance Polyphony: What Makes It So Extraordinary
In the Midst of Chaos, a Voice for Peace The world was reeling. Paris…
How In War and Peace Turned a Recital into a Social Reflection
How In War and Peace Turned a Recital into a Social Reflection The world…
A Journey Completed: Jaap van Zweden on Götterdämmerung and the HK Phil’s Ring Cycle Finale
Four years. Four epic music dramas. One extraordinary orchestra transformed by the weight of…
How Wagner’s Ring Cycle Transformed the HK Phil
Four years. Four operas. One orchestra, fundamentally changed. The Hong Kong Philharmonic’s Ring Cycle…
Art as Food for the Soul: What Music Teaches Us About Being Human
Jaap van Zweden has a phrase he returns to often. Art, he says, is…
Bold, Sensible, and Unstoppable: Sir David Pountney on Opera’s Future
Fifty years at the heart of an art form. A voice still restless with…
Airport Culture and the Art of Belonging
When Every Stage Looks the Same Land in Miami. Land in Bahrain. The terminal…
The Audience That Walked Away — and What Came Next
The seats emptied slowly. Then all at once. And in that silence, opera discovered…
Ildebrando D’Archangelo
“The wonderful thing of Leporello is the comedy. And this is the only character in the opera who has many colours. Leporello tries to imitate Don Giovanni in this aria, and so he’s like the figure of all emotion in Giovanni by night.”
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