Fred Plotkin

Blogger Fred Plotkin looks at the legacy of Martin Waldron, an only-in-New York character whose stately Brooklyn townhouse was a haven for opera stars and noble actors.

Rossini productions have suffered—especially the comedies—because the performance style, has become overemphatic, writes Fred Plotkin. Here's how to fix them.

"When I think of Berlin, it is often as a place from which New York can learn a lot," writes Fred Plotkin. "Its better traits stand as models for things we might try to emulate."

A production of Mozart's Magic Flute is being staged in New York by the South African theater troupe Isango Ensemble. Operavore's Fred Plotkin gives his reaction.

That the hearty men and women who live with water, waves, briny air and the wondrous fauna that live beneath the surface make for vivid material for opera is no fluke.

The staging of John Adams’s The Death of Klinghoffer at the Met raises the inevitable question: Should we expect to learn history from the stories of certain operas?

The immediacy and excitement of the music and character of Princess Eboli in Don Carlo are irresistible even to people who insist that they hate opera, writes Fred Plotkin.

With the Met Opera's controversial production of "The Death of Klinghoffer" opening on Monday, Fred Plotkin asks whether its detractors approach it with a full understanding.

As young singing talent is recognized at a gala awards evening, Fred Plotkin asks why the Kennedy Center Honors have overlooked opera this year, and who deserves the awards.

Canada has produced many magnificent opera singers but, in its customary self-effacing way, the country does not brag about them, writes Fred Plotkin.

A new biography of Giulio Gatti Casazza, the Metropolitan Opera's manager from 1908 to 1935, reminds us of the value of strong arts administrators, writes Fred Plotkin.

Operavore's Fred Plotkin says it's because of the paucity of able managers who can fundraise, maintain good labor relations and forge a creative vision with a music director.

Nina Rota wrote amazingly infectious and memorable music for films by many of Italy's top directors, writes Fred Plotkin. So why don't orchestras play it more often?

That sudden blast of warm air felt in New York in early September was not climate change. It was the collective exhalation of hundreds of thousands of relieved opera lovers.

Which is more disrespectful: booing during a performance or dressing like you're there to mow the lawn? Blogger Fred Plotkin considers changing rules of etiquette.

Tenor Roberto Alagna has decided not to return to La Scala this November. The reason: he did not want to endure the catcalls of the loggionisti, Fred Plotkin weighs in.

For the intrepid opera fan, there should be plenty to savor this season. Here are ten global cities (including one tour) featuring notable performances.

One can learn a lot about operas by going to the cities where they are set. Blogger Fred Plotkin considers Tosca's Rome, Carmen's Seville and the natural world of Wagner.

Blogger Fred Plotkin writes, "There is a euphemism I don’t much care for: Sound Design." Here's why.

Patrice Chéreau was one of the few directors equally adept with spoken theater, film and opera. Fred Plotkin considers his last opera production.