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Met Opera 2024-25 Crítica: Ainadamar
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Met Opera 2024-25 Crítica: Ainadamar

“Eso. Fue. Glorioso,” exclamó una voz anónima detrás mío al momento que el telón cayó la noche del estreno. Sin duda, la combinación de Ainadamar de grandes voces, conmemoración histórica, y explosivo baile flamenco es como nada que alguna vez he visto.

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Met Opera 2024-25 Review: Ainadamar
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Met Opera 2024-25 Review: Ainadamar

“That. Was. Glorious,” an anonymous voice behind me gushed when the curtain dropped. Indeed, Ainadamar’s genre-fusing combination of great voices, historical elegy, and explosive flamenco dancing is unlike anything I’ve ever seen.

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An Interview With Elena Villalón
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An Interview With Elena Villalón

Fresh off her critically praised Met Opera debut in Orfeo ed Euridice last spring, Cuban-American soprano Elena Villalón now takes on Osvaldo Golijov’s exhilarating Ainadamar. She kindly took the time to answer some questions in between rehearsals.

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Met Opera 2024-25 Review: Les Contes d’Hoffmann
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Met Opera 2024-25 Review: Les Contes d’Hoffmann

Jacques Offenbach‘s Les Contes d’Hoffmann is opera’s equivalent of The Tortured Poets Department, only 14,592 times better. The music brims with kaleidoscopic vibrancy and the story of Hoffmann’s three loves is delightful, though dizzyingly strange at times. 

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Recital Review: Erin Morley at the Yale School of Music
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Recital Review: Erin Morley at the Yale School of Music

It feels natural that Erin Morley’s first solo album, Rose in Bloom, should be nature-themed. She commands great versatility with her crystal-crisp voice, which sometimes resembles a richly filigreed silver flute, other times the ethereal otherworldliness of a glass harmonica.

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