Fred Plotkin appears in the following:
Friday, September 27, 2013
The Salzburg Festival named a new director this week. Fred Plotkin takes the occasion to consider why the town of Salzburg is about much more than just the Von Trapps and Mozart.
Monday, September 23, 2013
"In recent years, some of the traditional behaviors of audiences in the 30 minutes before the maestro enters the orchestra pit have fallen into disuse," laments Fred Plotkin.
Friday, September 20, 2013
Bringing a new opera into the world is a daunting task at any time, but Tobias Picker's Stephen King adaptation faced a challenge, potentially fatal, that few works do, writes Fred Plotkin.
Tuesday, September 17, 2013
Opera lovers in Washington, DC may not be the most demonstrative around, seldom with a "bravo" or "boo," but they can still recognize the city's rich offerings for fans of classical voice, writes Fred Plotkin.
Friday, September 13, 2013
Harlem-born soprano Martina Arroyo was one of five artists nominated for a Kennedy Center honor on Thursday. Fred Plotkin says the award was richly deserved.
Tuesday, September 10, 2013
"It is in this idyllic Swiss city on a lake, more than anywhere I have yet been, that I have felt the presence of Richard Wagner and the sources of his inspiration," writes Fred Plotkin.
Friday, September 06, 2013
"The production and the performances were incredible, unbelievable, singular, unforgettable and many other adjectives that can imply both the state of ultrawonderfulness and ultradreadfulness."
Tuesday, September 03, 2013
While the big-ticket, big-cast productions on the autumn opera calendar can speak for themselves, Fred Plotkin calls attention to some works in between that are of particular interest.
Thursday, August 29, 2013
"You don’t have to look too hard in Salzburg to discover what makes it stimulating. The city has an innate respect for Kunst und Kultur, or Art and Culture," writes Fred Plotkin.
Tuesday, August 27, 2013
Martin Luther King knew something about opera – his widow Coretta Scott King studied opera singing in Boston. He also was a master at the musicality of words and speech, writes Fred Plotkin.
Wednesday, August 21, 2013
Former New York City Opera conductor Julius Rudel recently published a memoir, which despite its flaws, provides a history of the company and its most important figure.
Friday, August 16, 2013
Shakespeare’s plays, with their gorgeous language, are not always congenial for musical adaptation. And yet, the stories and characters are so vivid and, yes, human, writes Fred Plotkin.
Monday, August 12, 2013
"The death of someone like Regina Resnik, which happened on August 8, just weeks before her 91st birthday, is akin to a library burning to the ground," writes Fred Plotkin in this appreciation.
Friday, August 09, 2013
Two rarely-heard operas have caught the attention of blogger Fred Plotkin: Tchaikovsky's Iolanta and Prokofiev's Maddalena. The latter is being called "a scandalous, hot-blooded love triangle."
Tuesday, August 06, 2013
If Rossini took comfort from religious observance, we don’t know too much about it. His letters are seldom pious in nature, but his music offers other clues, writes Fred Plotkin.
Friday, August 02, 2013
Thomas Hampson recently appeared on the BBC's interview program, and the questioning turned predictably tough. To Fred Plotkin, it also reinforced some stereotypes about opera.
Tuesday, July 30, 2013
No matter how extravagant the vocal acrobatics might be, if singing—whether opera, gospel or just about anything else—is not anchored in genuine sentiment, it will ring as heartless and false, writes Fred Plotkin.
Friday, July 26, 2013
Wagner's relationship with Otto Wesendonck, his most important financial backer, and the young and beautiful Mathilde Wesendonck, who became his most important muse, made for real drama, writes Fred Plotkin.
Wednesday, July 24, 2013
Zürich, Wagner's base for nine years, became a place where he could reflect upon, and amplify, his ideas and theories, writes Fred Plotkin.
Friday, July 19, 2013
Operavore blogger Fred Plotkin continues his discussion of the contentious topic of amplified opera singers with microphones and how it affects our senses.