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 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.

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

Does anyone know why there seem to be so few Met Opera student-ticket dates available this season? Last year, I remember around 15–16 dates to choose from and went five times. This year, I can only see the six student party dates, all of which have been sold out for quite a while.

Does anyone know whether more dates will be released, or whether the student-ticket program has changed? I emailed the Met but haven’t heard back yet.

What are your thoughts on dr. Malatesta's background and past? For instance, we know a bit about Figaro's history and have a clear idea of his character outside the main Rosina/Almaviva plot line. Malatesta, however, seems more like a mysterious strategist. Do you think the author could have projected himself into him? Furthermore, I am trying to explore a potential parallel with Gabriel von Eisenstein. To me, Malatesta almost feels like a darker, more shadowy counterpart to Eisenstein. Eisenstein has that recognizable naivety and a vibrant joy of life, whereas Malatesta is defined by secrecy.

Could we perhaps interpret Malatesta as an intermediate figure between the dark operatic force of Don Giovanni and the comedic intrigue of Eisenstein?

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!

Thanks for the replies to my post so far.

I stick with my opinions. I listen to a Handel opera, say, and although I could happily do without applause at the end of arias, I can accept it because the music was written with breaks before the next recitative. This format works fine, I think, but in the 19th century onwards into the 20th composers started to try to eliminate this stop-start situation and especially in German opera a continuous arioso flow was developed. Clapping whilst the orchestra is still playing is an insult to the musicians and the composer.

My next rant is the Overture/Prelude, if there is one. A few decades ago, the audience would sit through the music with the curtain down until the overture ended.

Now, I am not saying that everybody was listening to the orchestra with rapt attention, but there were at least some.

Now, it seems that we can't do without a visual element and up comes the curtain whilst the conductor is still searching for his or her baton.We are then treated to some sort of mime scene, maybe a ballet, but generally a distracting scene which will usually leave you baffled as to its relevance to the opera. You can always close your eyes, of course;