I thought this production was absolutely fabulous. I had my doubts going in - why is the Met staging a new production of Macbeth when the old one was not that old? It was from 2009, they are still doing productions from the 1970s so age could not have been the issue. I wondered why they were investing so much in a new production that didn't seem that dissimilar from the old production, that didn't bring something new. I was very wrong, and thoroughly enjoyed this presentation. Louisa Proske's directing brought new light to some aspects of the story that I had not previously thought about. I know how crazy her productions can be (she cofounded Heartbeat Opera, a company in NYC that produces REALLY out-of-the-box work), and I think this brought a modern lens to Verdi's work while remaining palatable for the Met's audience and hopefully profitable for the company. I appreciated some of the extra-libretto details that Proske added in, including Banquo reappearing in the place of the stuck pig, the pregnancies of the witches after the intermission, and the very final visual, where the witches tempt Fleance with the crown that has ruined everything onstage. Jon Bausor's set was very gray and concrete, but it got the job done. Costume designer Montana Levi Blanco lived mostly in the visual world of the original play, and I was hoping for some sort of artistic license to be added but there didn't seem to be any distinct lens Blanco worked with. That said, the costumes were beautiful and sumptuous, and a good contrast to the bleak world around them. Choreographer Jorrell Lawyer-Jefferson created movements for the witches that were very eerie. It's really difficult to make me feel viscerally uncomfortable in an opera, let alone over a movie theater screen, but Lawyer-Jefferson managed to do so. The traditional Georgian dancing used on the table at the banquet was also particularly visually effective. Action/fight director Ran Arthur Braun is truly the fight director of our time; the fight choreography was very enthralling.

As Banquo, Ryan Speedo Green reaffirmed his status as the Met's go-to bass-baritone. He didn't bring a ton to the role (but there is not a ton of the role to bring himself to), and I continue to look forward to his Wotan in the upcoming new Ring Cycle.

I felt similarly about Freddie De Tommaso as Macduff. An interesting character but not Verdi's most compelling in an opera full of compelling figures. He has an elegant voice but it is a bit scoopy for my tastes.

Lise Davidsen has gotten a lot of criticism for her portrayal of Lady Macbeth, which I partly understand. It's a role that is outside her wheelhouse. Where Davidsen shone were the high notes in the role, of which there are many. However, this is a role that has historically also been taken on by mezzo sopranos, notably Shirley Verrett (who regularly sang soprano rep) and Fiorenza Cossotto, and as such, the low notes should not be ignored. Davidsen's exit from her comfort zone was noticeable particularly in the first aria "Vieni, t'affretta... Or tutti sorgete," where her coloratura was underarticulated and unclear. In Lady Macbeth's Act II aria, "La luce langue," I was delighted to hear some of Davidsen's chest voice, and would've loved to hear more of it throughout. I do want to give her credit, though, because I think critics and armchair experts alike forget how difficult it is for a singer to step outside of their comfort zone and bear their voice for a harsh audience. She is clearly trying something new, and I don't think it was totally successful, but it was certainly not an unsuccessful afternoon for Davidsen. In a world where so many singers, especially at her level, are risk-averse, I applaud her.

Finally, Quinn Kelsey was the star of the presentation as Macbeth. This is an unforgiving role that sits very high and requires more stamina than perhaps any other Verdi baritone role, and he conquered it thoroughly. I was impressed by his willingness to sing with blood dripping from his mouth in the final aria.

this was born of a glass and a half of wine. I decided to go ahead and make a post here.

So...I am not an opera singer, but I know many opera singers. I majored in voice at one of the "best" schools for voice in the US and was among people who now have big careers, singing around the world and at the Met etc. I am more of a teacher myself, and I've done more choral/chamber/recital/liturgical music in my career.

OK so as many have noted, there is a weekly (daily) "opera is dying" conversation happening right now. There are a number of detailed and devastating public conversations happening about how brutal the industry is for artists, how hard it is to make a living, and how impossible it is to stay in the field, even if you love it. I can link these if you haven't seen them. And yeah, it's brutal out there! And unfortunately this is normal. these are important conversations that deserve attention, and like everyone else I don't really have a good solution. I personally know people suffering because of the current financial system and failure of institutions to care for artists, and I see the hardship. My heart has been heavy because of many of these stories. As a teacher I do have students who desire a professional career. I talk with my students about the financial reality. I am trying to prepare them for a versatile outlook and a flexible mindset, but I can't know where this is all going any better than you. And it feels like education itself is usually a good century or so behind the times. In my observation people kind of just figure it out, or don't, and for a long time artists have eked out a living somehow. Or haven't. Most of us make it work through some combination of income streams, inside or outside the field of music. I believe wholeheartedly in music, poetry, SINGING and the transformative effect this kind of training will have on the individual. I am thankful to be working in the field. And I have no qualms pursuing and teaching the art; it is worthy and pure in itself. I also think we can be creative about the future. If things have always been financially difficult, that doesn't mean they need to stay that way. I deeply value this art form, and injustice is not inevitable.

So here is why I'm here: I'm interested in a discussion. Here is my take. I think the industry itself needs to embrace our era more, and we can all participate. Opera is not currently “surviving” very well. But there was also a lot of great live vocal music happening before opera ever was invented, and singing has been a piece of liturgical, theatrical, and community traditions for all of human history. Opera is a very small time period within all that, and the various eras of operatic prosperity seem to belong to bygone days. That has been true for a while, but not so long that nobody can remember that other time. so we are reacting to that.

And maybe the art form can expand, develop, or change ? In the heyday of opera they weren’t trying to prop up the same 10 works from hundreds of years ago. (not to say we shouldn't do them! I'm a big fan of baroque and Mozart operas myself) And to be clear, I still enjoy opera a lot! But the way I see it, it's not like singing is over, and who knows what new horizons might open up for the art form! Classical singing, in my opinion, is way too awesome to just disappear. opera is only one way to sing.

I think sometimes it would help a LOT if opera lovers and opera professionals were more aware of the history, in general. When did opera start and how was it done back then? How much money did opera singers make at that time, and in the times after that, when opera was very popular?

I think it’s relevant to remember that Western opera started as chamber events in castles and palaces, exclusively for the rich, invitation-only, and funded by (sometimes stolen) royalty money. lavish productions with no expense spared. Plucking the best musicians on the continent for personal projects, court employment, and NOT PUBLIC events.

Then there were the opera stars like Farinelli. Made the kind of living in his time that people only dream of, equivalent to a rockstar. If you want to look at relative economic status, it's about our equivalent of double digit millions of dollars a year (disclaimer: it is hard to calculate this since everything is so different and value of money is not only about inflation). in the few hundred years after that opera became more public and WAS a form of society's popular music for some time, the stars made the modern-day equivalent of millions having their careers, and were able to act like it. Weird diva moves like traveling with an animal menagerie, or bargaining by refusing to wear shoes onstage...after retiring from staged opera in 1850 Jenny Lind was paid $1,000 per night for concerts, the equivalent of $43,197 a night today, and made somewhere between 10 and 14 Million in 2 years in our money. (FYI in 1850 the average annual income for someone who was a skilled laborer was less than $500 a year, which had the purchasing power of around 21,600 dollars today.) But one thing I'm still trying to determine (it's harder to find hard numbers on this), is how the ordinary working singer fared financially across history. From what I have seen, a lot of professional singers may not have been much better off than their counterparts today, but it is hard to determine. have we always had a relatively small number of stars making huge incomes while the majority cobbled together a living?

But as always in any era, we are living in a different time than the generations before us. And our generation tends to look back on some very particular periods of operatic history, at least in the US, spanning the mid 19th-late 20^th century. First let's talk about the 1800s, the time when every small town had an opera house. “What a shame they all closed down,” people say. But that era of an opera house in every town was only about 70 years long! And most of the time they weren't even doing opera at these opera houses! Smaller towns had no actual opera company, and touring groups did the legit operas and operettas in town when they happened at all, while the locals might use the space for their other various projects. Think about how long people have been alive and singing—and then think about 1850-1920 or so, the blip in time of an opera house in every town.

Then we look back on the post-war era of the 20^th century when widespread permanent/residential opera companies cropped up in major cities around the country. That's also a very short time period, funded by the biggest financial boom in the history of the world, an opprotunity for philanthropists and American expansion. The timeline lines up with opera support: the "Golden Age of Capitalism" (50s-70s) and then the tech boom. But this too is such a tiny blip in time on the scale of human history, so why are we expecting that to be a standard? If you look at the (brief!) history of opera in human history, you see that for a while now, things have not been in the heyday or golden age. And that’s ok. But acting like it should be, or needs to be, or trying to force it to be what it once was, will not help “keep it alive” IMHO. opera has already survived many incarnations, so why would we assume we have reached its final form?

There isn't exactly a great golden age model for opera that we can easily restore. Opera was ALWAYS expensive, special, and an immense undertaking. We have many residential opera companies now compared to the US historically—yes, MORE, and yes they are also struggling, but it's not like it was ever an easy feat to pull off an opera season. The easiest time to fund widespread opera happened to be the time before ours: it was a lucky meeting of circumstances, with popular music having included opera for a while (I'm thinking around late 1700s/early1800s through early 1900s) therefore securing a prominent place in public entertainment, followed by the biggest financial boom in history (second half of 20^th century). We are in a different era now, and we should expect a different experience of art, life, food, and everything else. I'm not opposed to trying to preserve an infrastructure that makes opera possible. But I think we need to be realistic about our time.

This is not even to mention that opera voices themselves and what is in fashion aesthetically has changed hugely, and here is an opinion many might not like, but I personally do prefer many of the voices of yesteryear for their clarity, precision, and balance. “Size” of voice is WAY overemphasized now in my opinion, and I think it also can drive the public away when “big” and “loud” are priorities over beautiful, flexible, and accurate. This is not always happening in our time, but it sometimes is. (I admit this comment was a bit of a tangent.)

But all that aside, music like everything goes through fashions. Opera is not the popular music of our time. If you didn’t already know that you’ve been deep in the weeds.

THAT SAID, nobody is going to stop making music. Keep making music! Keep singing. Strive for quality artistry. It still matters and it always will. It may or may not be opera with a capital O. that's ok. The future of classical singing does not need to look like the past.

Thanks for reading.

My mom wants opera tickets for her birthday and I’ve never been either so i was hoping to get some recommendations for the best show to go to for a first time experience!

We are going to the Toronto opera house and these are some of the shows they have going! Any help would be appreciated :) thank you!

Was part of a group of dozens of people that just got told to leave the theatre where we were about to watch the live screening at the only location in philadelphia that offered it. They said it was technical issue... did this happen to anyone else or is philly just the most unserious city?

I won't be able to see the encore either :(

I’ve had this tune stuck in my head forever and I’m like 90% sure it’s from an aria but I can’t remember which one

I have noticed in a few operas a moment when a soloist walks in a circle while not singing between verses of the aria they are performing. They might walk around a piece of furniture, or around behind some other people. Is there a standard name for this bit of business? It is better than just standing there I suppose.

For example, Diana Damrau does it at 1:20 in this clip from The Magic Flute. And here is a similar moment from the movie Amadeus.

Just my opinion, of course.

Very interesting. I did not expect to hear Jakub warming up in his baritone voice, for instance.

Saw it last night and loved every minute of the evening. It was my first time seeing Macbeth, so there’s probably some novelty at play, but we all know the story (duh) and I'd boned up on the music.

First, it was so great to see a packed house, especially for Verdi. I always sit in the Grand Tier because I like to see the orchestra and love how it sounds from there. (Just bring some small binoculars.) But the crowd is Old. That said, I went up to the Family Circle at intermission … it was PACKED with young people. I wanna hang out with that crowd next time.

Second, Peter Gelb, who runs the Met, came out in front of the curtain before the show, and the audience groaned. We thought (at least I did) that we were getting a replacement announcement. Instead, he reminded us how the Met has supported Ukraine and its people since the war began and will remain steadfast in doing so as the war rages on. To honor their people, he said the orchestra would play the Ukrainian national anthem and asked the audience to stand. (I’m starting to tear up again writing this.) As they played, you could hear some big voices, I think from behind the curtain and maybe one box, singing the words to the anthem. It was so moving on a day when the highest ranks of our government were turning their backs on Ukraine. I also wondered if it was connected to the dancers from Georgia who were about to perform.

Third, what gorgeous, epic sets. I know this was the director’s first time staging an opera at the Met … why’d it take so long?! Every choice she makes has a big idea behind it. And gosh, you can see why the Met is in serious financial straits. They spent some m-o-n-e-y on this. Grand staging. The witches were SPELLBINDING, and they made so much sense as a chorus in how they were presented, thriving on mayhem and carnage and working their way into every part of the Macbeths’ lives. And those Georgian dancers, with real sparks flying off their swords! A fight sequence that felt right and not remotely silly.

Three and a half: Yikes, it was hard not to see this story as an allegory (a mirror?) of where we are today: an amoral leader who will stop at nothing to gain power and riches, and a chorus of sycophants who empower and encourage him. (Maybe not so much the wife this time around.)

Fourth, the orchestra! I’d been listening (mostly) to Erich Leinsdorf’s Met recording for the past couple of weeks. I know live is simply better, and I'd been listing to an old recording, but the orchestra sounded SO MUCH BETTER. Rich, enveloping, balanced … and some of the foreboding drumbeats that wear on me in the recording felt propulsive instead. Energetic, even jaunty.

Finally, the voices! I know we’re so lucky to hear the world’s finest singers at the Met, but you really felt it with this Macbeth. Especially Quinn Kelsey: he was gripping every moment he was on stage, which was basically all three hours. Everyone delivered. Lise Davidsen is a spellbinding presence and a wonderful match for Quinn. And I loved Ryan Speedo Green, which is such a great name, as Banquo.

Anyway, a rave from me. What a moving, gorgeous night out in New York!

Excited to see Lincoln in the Bardo in two weeks...

I wondered if anyone had watched the stream from the Vienna State Opera last weekend?

I watched it because of the Bartok, but thought I'd give the Zemlinsky a go.

I really enjoyed this, and was eagerly anticipating the Bartok.

I thought the opportunities for some spectacular sets at each opening door were not taken as much as I had hoped, but for me the whole thing was spoiled because of the sound, which suddenly changed to mono for the Bartok.

After spending some time looking for a fault in my equipment, I then played back the stream form the start. The Zemlinsky in very good stereo, scroll forward to the interval and the sound becomes mono. I watched the stream several times over the weekend, hoping that stereo would appear in the Bartok, but no, Zemlinsly stereo, Bartok mono.

One further odd aspect was a youtube trailer with stereo in the Bartok excerpt.

I remain baffled. Any one else have this problem?

Really excited that Wexford Festival Opera is streaming Rossini’s L’equivoco stravagante!

It’s one of his lesser-known operas and rarely performed, so this is a real treat. I’ve had a recording on repeat recently, and I’m especially looking forward to seeing it staged!

There’s also a lovely story behind this production. Last summer, audiences from 30 countries voted for L’equivoco stravagante to return as the Festival’s ‘fun’ opera for its 75th anniversary. It’s the first time in the Festival’s history that an opera has been chosen by popular vote!

Thought I’d share in case anyone missed the announcement and fancies discovering a bit of lesser-known Rossini!

https://www.youtube.com/watch?v=WM4_dhXBRcQ

An incredible voice that I regret never having been able to hear live.

Here's the NYT obit (gift link): https://www.nytimes.com/2026/10/14/arts/music/martina-arroyo-dead.html?unlocked_article_code=1.IlE.r5Zs.1ewit5hxAraf&smid=url-share

So I'm up for any new operas. I will say I am turned off when ppl say " oh you have to have read the book to understand it" . I didn't need to be an egyptogist or read a book to get aida or aknhatten ( just a few program notes is all)or any of the Shakespeare works. Not to say at all that such reading wouldn't augment enjoyment but that the operas can stand on their own.

I hope gift link works

https://www.nytimes.com/2026/10/09/t-magazine/lincoln-bardo-george-saunders-met-opera.html?unlocked_article_code=1.I1E.WoOV.gqCEFrp5JfGm&smid=url-share

Hi everyone,
I am looking for the full video recording of Mozart's Don Giovanni performed at Teatro Colón in Buenos Aires back in 1993.
The cast includes Gino Quilico, María Bayo, Willard White
I found the professional TV finale on YouTube, so a full broadcast or house-cam recording definitely exists, but it doesn't seem to be on OperaPassion or commercial DVD. Does anyone here have the full video in their archive or know where I could find it?
Thank you so much for any help!

Rank one (for recognizable toxic relationships) has to be Jochanaan and Salome. Most recognizable could be Brunnhilde.

Hello! I am a 23M grad student. I mainly sing opera or art song and I have an audition for the Air Force band coming up. They are asking for a contemporary contrasting piece in either country, rock, pop, or jazz and I don’t have much knowledge on any of those genres especially singing them. I haven’t decided my aria yet but I will choose a fast one in order to have a slower contrasting piece. Anyone have any advice or recs?

Hi! I'm working on a film about Puccini's "La Fanciulla del West" and I would like to include recordings of excerpts from the opera made by original cast. I didn't find any capture by Emma Destinn (first Minnie) or Pasquale Amato (Rance) but I found this audio of Caruso singing "Ch'ella mi creda":

https://www.youtube.com/watch?v=-7ay-MZTH2U

The problem lies in the fact that all resources I found consistently maintain Caruso didn't record anything from "La fanciulla..." due to Ricordi's prohibition. Does anybody knows it is a fake or legit recording of Caruso's "Ch'ella mi creda"?

🎭 I Capuleti e i Montecchi – Gran Teatre del Liceu

📅 Sábado 7 noviembre 2026 – 19:00
🎟️ PLATEA · ZONA 1 · FILA 1 · ASIENTO 1

Entrada individual original del Liceu.
Precio original: €211
Vendo por no poder viajar finalmente a Barcelona.

Precio: €205

Entrada digital PDF/QR, no nominativa. Puedo mostrar justificante de compra antes de la transferencia.

DM interesados.

Over 20 years ago I learned programming to organize my personal opera recording collection. Eventually software became my career and periodically I’d revisit the project to add new features or rewrite the code as got more experienced. About a year ago, it occurred to me that the same interface I’d been personally perfecting over all these years could now be made public by using embedded players from the popular streaming platforms, so I began rewriting as a public site.

Its now at a place where it’s ready to share, and I thought r/opera might find it interesting! You can find it at https://findopera.com.

Features:

• Search/browse recordings by opera, composer, conductor, character or singer
• Stream on Spotify/Apple Music/Tidal directly on the site
• Wikipedia links for notable composers, conductors, singers
• Login to build collections of recordings
• Search a Spotify album URL to get full cast details
• Built-in UPC barcode scanner
• Agent-friendly command line tool for searching/updating the catalog and automating organizing files
• Wiki-style edits where full history is visible, each with a sourced justification

This is not a commercial endeavor, but rather a long-term passion project of a singer and opera nerd who also enjoys writing software. If you have any questions/requests/feedback/thoughts, I’d love to hear them!