Author: Sarah Featherston

From the Nashville Opera

The Barber of Seville: What a Night for a Haircut

The Barber of Seville by Gioachino Rossini is the quintessential opera buffa. Even if you’ve never heard of the opera, you’ve probably heard snippets of “Figaro, Figaro, Figaro,” from theRead More

Nashville Opera is:

”Shining’ a Light on Horror in Opera

Ghosts, goblins, and ghouls are old friends of the opera scene. Don Giovanni by W. A. Mozart, Faust by Charles Gunuod, The Turn of the Screw by Benjamin Britten, andRead More

From the Newest Opera Ensemble in Music City:

Canto615: Don Giovanni Laid Bare

Don Giovanni in a church – sounds a little ironic, don’t you think? I wasn’t sure what to expect coming into this performance. I knew that the opera was takingRead More

From the Nashville Opera

The Bloody Tragedy Lucia di Lammermoor by Gaetano Donizetti

The bloody tragedy Lucia di Lammermoor by Gaetano Donizetti  (1797-1848) originally premiered in 1835. It is a Romantic opera is loosely based on the novel by Sir Walter Scott, TheRead More

The MCR Interview

Soprano Rainelle Krause on Nashville’s Lucia di Lammermoor, the Queen of the Night, and other things!

Ahead of her upcoming appearance in Nashville Opera’s production of Gaetano Donizetti’s Lucia di Lammermoor on April 3rd and 5th, Journalist Sarah Featherston speaks with Soprano Rainelle Krause on theRead More

From the Nashville Shakespeare Festival

Pride and Prejudice and Plays

Pride and Prejudice is a beloved classic that has resurfaced as younger audiences have discovered the magic of Jane Austen through the 2005 film adaption directed by Joe Wright, whichRead More

The Cosmopolitan Baroque on Broadway

It was Sunday, February 2nd, to be exact, and Music City was alive with the sounds of traffic and people chatting away, making their way across streets in a rushRead More

Coming from the Music City Baroque

Preview: Baroque Crossroads: A Celebration of Italian, German, and French Styles

There is much that can be said about Baroque performance practices. During my attempts at playing Bach during my undergraduate, I came across multiple ways of playing eighth notes; theRead More

The Ties that Bind:

Bizet’s Carmen at the Nashville Opera

Bernardo Medeiros (Zuniga), Sara Crigger (Mercedes), Marina Costa-Jackson (Carmen), and Dee Donasco (Frasquita) in "Les tringles des sistres tintaient"
The lights in the theatre dim and the chattering crowd is suddenly silent, drinks with condensation dripping off them clutched tightly as the orchestra, one behemoth of magical sound, beginsRead More

The MCR Interview

Interview with Kathryn Lewek

In celebration of the approaching production of Carmen at Nashville Opera, Music City Review Journalist Sarah Featherston had the chance to sit down with Soprano Kathryn Lewek and chat aboutRead More