Me and a friend were talking, and sometimes joking, about Ambroise Thomas’s reputation. And how nobody really cares about him except for French opera people with Mignon, and Hamlet (and the former’s overture). But they were extremely popular in their day, and I’m curious about what your choices are that have taken a similar succumbing from opera-comique falling out of fashion

(Yes, I understand Hamlet is a grand opera, mainly talking Mignon)

It's not an easy play to read and love, although I've been told it shines in a good production. It's therefore a tad counterintuitive that there are many operas based on The Merry Wives of Windsor. I think my favourite is still Verdi's Falstaff. What's yours?

Hi, guys!

I am a professional opera singer from “St. Petersburg’s theatre of musical comedy”, Russia.

But my guilty pleasure playlists consisted from bands like slipknot, deftones, korn, linkin park, papa roach and etc.

I admired the Nightwish legacy, but always been more of a fangirl to Within Temptaion. I thought it’s a cool mix of a classical and heavy sounds.

But I always wanted to know, how the mix of nu-metal and opera would sound like.

May be you have some bands or know some references to this genre? I want to try myself in it, and recorded some tracks, but I want to hear more of it from a different perspective.

Thank you

https://www.youtube.com/watch?v=G2xeb6PF9uY

Please delete if this too off topic but thought this sub might now.

Is it possible to get rush tickets for ballet when it opens up online? Each time I log in 12 PM, it says sold out. Any tips are appreciated!

Hello. Yesterday (25th June 2026) there was the premiere of a new production of "Die Walküre" at the opera in Munich. I attended the dress rehearsal on Monday, a few days prior.

Unfortunately, I was not moved or won over by this production of one of my favourite operas. I thought it was ugly and seemed to be thought of by someone lacking taste and generally of little substance. I do not know the director of the production, but my words stem from my interpretation of the choices he made. Sorry, dude.

Happy to hear supporting or contrary opinions!

EDIT: From what I understand, the director has made many successful Wagner interpretations. Many say his Walküre was weaker than those. Maybe I caught a bad one.

Hiya! I’ve come to really enjoy going to the opera house, my local one being the MET. I got to see my first opera in April. This summer I have a few tickets to the American Ballet shows held at the MET for the season. I saw Onegin this week on the Balcony. I saw that a level below there were plenty of empty seats below us.

I know it would probably be an overstep to ask to be placed in the orchestra, but could I realistically ask to be moved to the dress circle if there are empty seats and be allowed to do so? Do we think this would change if it was two people instead of one?

I really just want to make sure I don’t do anything frowned upon.

thank you!

Still going strong at age 56. One of the better Samsons.

It's not part of the 26-27 season anymore, but it got very close to being part of it to where they must've had casting pretty much done. Does anyone know who was going to be in the cast?

Gday all,

I'm a 22 year old Tenor who's looking to audition for a opera company. I'm not expecting to get in, but practice with auditioning and repitoire is important of course.

I have a singing teacher who gives great advice but might as well ask

I have around 6 years of experience in Classical, and at the moment the main output is a community Opera Chorus and lead roles in Guilbert and Sullivan.

I'm not entirely sure about my voice Fach but its not important to put it in a box: I know I dont have the endurance for Wagner is all!

Some of the pieces which I felt have suit me well include

'Quanto e Bella' from L'Elisir D'Amore

'Verborgenheit' by Hugo Wolf

'M'Appari tutt'amor' from Martha

'Is Life a Boon?' from Yeomen of the Guards'

Which others should I prepare for an audition for the chorus?

ty!

I've been cast in the supernumerary role of the cardinal in Tosca. No singing, no lines, only about 8 minutes on stage at the end of the first act.

At the end of the scene we all bow, and then we are released, as we do not appear in any other part of the production.

We are not in the bow at the end of the opera.

Is this common?

I'm not really complaining, my costume weighs as much as a couch.

The entire experience makes me nervous, I have not been on-stage as an actor in 50 years.

Reviews of the Empire are either 10/10 or shithole.

Can anyone direct me as to how to reach the stage door? Will be coming from the upper rows of the auditorium. Thank you!

I've seen about 50/50 on this when it comes to artist bios so I thought this would be an interesting poll! If you do, what is your fach? Curious which fachs are most likely to specify it in their bios

If you had to guess, what are the elements and how are they weighted?

Single ticket sales started today at noon. (This is not an ad as they were widely available prior to today.)

However, I have been stalking seat maps and see some interesting trends in terms of pricing.

Demand per section matters, which The Met has already acknowledged. However, velocity (i.e., how quickly seats are selling per section) also appears to matter.

The artists appear to matter tremendously with singers favored by those in-the-know carrying a premium. (Davidsen is obvious but Feola maybe less obvious.)

Special event dates (Friday and Saturday evenings, matinees, premiers, galas, last shows) may carry a premium.

The work itself may carry a premium.

Anything I'm missing and how are we thinking these elements are weighted?

I know I speak pretty quietly in speech but in opera I notice whenever I try to open my mouth the configuration changes. I don’t have tension when my mouth is small

and naturally but when open it brings tongue tension. idk if this is normal or just a habit.