Opera Criticism in a Modern World
Polina Lyapustina advocates criticism and design perspective in opera journalism
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Q & A: Haymarket General Director Chase Hopkins on Stepping Into a Leadership Role in a Trying Time
Q & A: Haymarket General Director Chase Hopkins on Stepping Into a Leadership Role in a Trying Time
This interview originally appeared on OperaWire.com on April 5, 2021
Criticism on Fridays: Opera Australia Celebrates Reopening at Workers’ Expense
Criticism on Fridays: Opera Australia Celebrates Reopening at Workers’ Expense
OA Gives a Lesson in Overcoming the Crisis While Undermining its Employees
Criticisms on Fridays: The Opera Managers Declare Themselves
Criticisms on Fridays: The Opera Managers Declare Themselves
Does Opera Industry Need Managers to Demand Public Support?
Editorial: The Met Opera ‘Deal’ [Un]Explained
Editorial: The Met Opera ‘Deal’ [Un]Explained
Progress At the Met Remains Unclear & the Results Are Unpredictable
Haymarket Opera Company 2020–21 Review: Apollo e Dafne
Haymarket Opera Company 2020–21 Review: Apollo e Dafne
An Inspiring & Relevant Modern Production of the Handel’s Eternal Masterpiece
Criticism on Fridays: The Promising Little Headlines
Criticism on Fridays: The Promising Little Headlines
The Flat Structure and Independent Ideas Promise a New Turn in the Development of Post-Covid Opera
Criticism on Fridays: Can We Already MET?
Criticism on Fridays: Can We Already MET?
Labor Unions Also Offer Up Major Obstacle to Making Progress for the Met Opera Workers
Criticism on Fridays: Letters to Russia
Criticism on Fridays: Letters to Russia
Despite Failed Petition, Russian Musicians May Be Fighting for Bigger Changes
Criticism of Fridays: Brexit Holds UK Artists Hostage
Criticism of Fridays: Brexit Holds UK Artists Hostage
How Much Politicians’ Games Across La Manche Will Cost Musicians
Criticism on Fridays: The Slow Decay of Italian Opera
Criticism on Fridays: The Slow Decay of Italian Opera
How One Old Decree Continues to Threaten Italian Opera after the Pandemic
Criticism on Fridays: Connecting the Opera Industry
Criticism on Fridays: Connecting the Opera Industry
To Evolve, We Have to See & Hear Each Other, & Then We Can Speak & Be Heard
Criticism on Fridays: The Apparent Well-Being of German Musicians
Criticism on Fridays: The Apparent Well-Being of German Musicians
Humanistic Approach Hopelessly Loses to Laws, Management, & Market Law
Criticism on Fridays: Re: Metropolitan Opera Outsourcing
Criticism on Fridays: Re: Metropolitan Opera Outsourcing
Support & Donations Without Hope of Fighting for Real Changes
Inter-Holiday Criticism: New Year’s Resolution
Inter-Holiday Criticism: New Year’s Resolution
What the Industry Needs to Do to Look and Feel Better in 2021
Criticism on Fridays: South African Opera Singers in Crisis
Criticism on Fridays: South African Opera Singers in Crisis
Power & Pride in the Voices from the Abandoned Stages
A Psychological Masterwork That Will Leave You Begging for the Single Sound of Music
A Psychological Masterwork That Will Leave You Begging for the Single Sound of Music
Review: Kasia Głowicka’s ‘Lilian’
Criticism on Fridays: The End of the Year
Criticism on Fridays: The End of the Year
Layoffs, Pay Cuts, Immature Digitalization, and Other Dismal Results
A Promise of Youth to All the Aged Masterpieces
A Promise of Youth to All the Aged Masterpieces
MusicAeterna and Teodor Currentzis 2020 Review: Fragments Part I — Traviata
Criticism on Fridays: Speaking for All of Us
Criticism on Fridays: Speaking for All of Us
Because Speaking Only for Oneself Turned the Opera World into a Very Unpleasant Place
Reimagining ‘Fedora’ for the Modern Reality
Reimagining ‘Fedora’ for the Modern Reality
Teatro Grattacielo 2020 Review: Fedora
Criticism on Fridays: Opera Journalism in Times of Crisis
Criticism on Fridays: Opera Journalism in Times of Crisis
When No Question is Too Serious
Michele Pertusi Triumphs on the Ruins of the Classic Opera Festival Approach
Michele Pertusi Triumphs on the Ruins of the Classic Opera Festival Approach
Donizetti Opera Festival 2020 Review: Marino Faliero
Criticism on Fridays: European Culture Bailout 2021–2027
Criticism on Fridays: European Culture Bailout 2021–2027
Why the Seven-Year €2.8 Billion Package for European Culture Only Sounds Good for the Opera Community