Opera

Academy of Vocal Arts

We hope you enjoyed the October 14th broadcast of the Academy of Vocal Arts' popular 2017 Giargiari Bel Canto Competition, recorded live at the Kimmel Center.

This Sunday at 1 pm on WRTI, Yannick Nézet-Séguin indulges his passion for opera, as our Philadelphia Orchestra in Concert broadcast brings to the airwaves Béla Bartók’s searing one-act opera Bluebeard’s Castle, and selections from Tchaikovsky's ballet, Swan Lake.

What does it take to be an opera superstar? Jonas Kaufmann should know. He's been called "the world's greatest tenor."

Kaufmann has the voice. He's also got the onstage charisma, the movie-star good looks, the ambition, even a little controversy — and a brand new album.

Opera Philadelphia/Dominic M. Mercier

In a new opera, We Shall Not Be Moved, five teens find shelter in a condemned house in West Philadelphia, inhabited by ghosts recalling five children killed in 1985 when police bombed the headquarters of the black liberation group, MOVE. WRTI’s Susan Lewis spoke with the composer, whose work explores issues of racial and social injustice today. The opera is part of Opera Philadelphia's O17 Festival.

Todd Rosenberg for the Kennedy Center

What does it take to write an opera about a man who changed the world? It takes a composer like Mason Bates, known as a master of computer-generated music who integrates the sounds of technology with the beauty of acoustic instruments.

Mark Campbell is one of the most prolific and celebrated librettists in contemporary American opera. But, as he recently told an audience at the Guggenheim Museum, not everyone thought his latest project was a good idea.

Todd Rosenberg / Lyric Opera of Chicago

Intensely passionate drama set to some of opera’s most sweeping, soulful, and heart-stoppingly beautiful music—that is Eugene Onegin. Tatiana is a lovesick country girl, and Onegin is the sophisticated young man who callously spurns her love before realizing, too late, what a mistake he’s made.

Credit: Opera Philadelphia

WRTI’s Meridee Duddleston considers a question of operatic proportion, with notable librettist Mark Campbell.

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