One of the top tenors of his generation, Philadelphia’s Lawrence Brownlee has drawn rapturous acclaim for his performances at all the world’s great opera houses, from the Met and La Scala on down, especially in the agile roles of early 19th composers.
I have just returned from a week in Japan, and I am in an elated, exhausted, jet lagged, watery, impermanent state of being neither here nor there. My mind is still navigating Japan, but I am physically back in the beautiful, blossoming
With a rising anti-immigration fever sweeping the United States and President Trump’s threat on Tuesday to deploy military guards along the Mexican border until his exclusionary wall can be built, it is well and truly time for this: A trifecta of plays
While we have yet to escape the various micro-seasons of post-winter, pre-spring Portland (such as Fool’s Spring, Mud Season, and Third Winter), blossoms are indeed blooming and the list of events and openings is getting fuller and fuller. For example, we’ve got
April marks the debut of the Portland Baroque Orchestra’s newest member: the Ruth Rolt fortepiano. Its player is Eric Zivian of the Benvenue Trio, whose other members are violinist Monica Huggett (also PBO’s artistic director) and PBO cellist Tanya Tomkins. The fortepiano
It’s a Monday afternoon in early spring, and the road warriors are back in town. “I don’t know,” Jerry Mouawad says, just a trifle wearily. “We’ve probably played a thousand venues across the country.” That covers a few decades and a few
People get into podcasting for some very stupid reasons. On reflection, mine might have been one of the stupidest. Four years ago I was meeting with my friend Ron, a co-producer on the film BRASS: Lair of the Red Widow that we were
By DAMIEN GETER Despite being one of the world’s leading operatic tenors, as an African American man, Lawrence Brownlee is not immune to racism. “I feel it every day,” he told Oregon ArtsWatch. “I see signs all of the time.” Brownlee noted
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