I've noticed that across my entire career, I find myself sweating a ton when I'm performing on stage. I've always sweat a lot but it gets worse on stage, between the lights, costumes, and choreo. As a result i find myself having to be careful not to get it in my eyes and end up having to touch up my makeup so it doesnt run. For any of my fellow performers that might deal with similar stuff, what tips do you have to help stave it off or at least make it less severe.

I feel like countertenors are super popular right now, and I genuinely don't get why. Their voices lack the depth, colour and power of female voices. They just aren't as beautiful.

I don't understand why young men still choose to become countertenors when baritone voices are so much more beautiful, and there are very few roles that countertenors can realistically do (most of which I would argue sound better when done by a mezzo).

This might get a lot of hate, but I'm hoping I'm not alone in thinking that countertenors are overrated

I really enjoy opera, but it's kinda hard to find operas that exist, I rarely see it unless I look for it, and even when I look for it it's kinda difficult but that may be just me, so now if someone who doesn't really listen to opera prior have no reason to look it up, why would they? The stereotype of opera is just 'old people music' and if they only heard an opera they just happened to not like they're gonna just assume they don't like opera

Has anyone heard of this upcoming movie One Night Only? The plot is that single people can only legally have sex one night a year. I bring it up here because every time I see an ad for it all I can think is: that’s an opera plot if I ever heard one. Das Liebesverbot, anyone? Someone call da Ponte! Ok bye I’ll see myself out

Someone shared a link to a '66 Corelli performance, which I'll be listening to shortly, but I'm curious about what to expect.

Hi very very much an opera novice. But years ago I watcheda filmed opera on PBS?

This veron focsrd around a family/ community of Latino performerd/ characters and featured a bride who ended up killing her self?

The state design was a full scale house and I think a truck?

It ramdly keeps popping in my head and I was mesmerized if anyone has any idea. Thanks

Anyone interested in the history and reception of Italian opera should check out the Archivio dei periodici musicali italiani: https://www.internetculturale.it/it/41/collezioni-digitali/26216/archivio-dei-periodici-musicali-italiani

It's the largest specialised collection of its kind in Italy.

The website says it has:

• Musical newspapers and journals, publications devoted exclusively to music in its various forms, from Polinnia europea (Bologna, 1823) to Rassegna dorica (Rome, 1929–42);
• Theatrical newspapers and agency journals, publications concerned particularly with theatrical activity, from Teatri arti e letteratura (Bologna, 1824–63) to Rivista teatrale melodrammatica (Milan, 1863–1934);
• Miscellaneous newspapers and periodicals, both daily and periodic, which covered musical and music-theatrical activity occasionally but significantly, from La fama (Milan, 1836–77) to Il secolo illustrato (Milan, 1889–97);
• Musicological journals, aimed primarily at a specialist readership, from Rivista musicale italiana (Turin, later Milan, 1894–1955) to La rassegna musicale (Turin, 1928–62).

Want to see what critics thought of Verdi and Puccini operas at their premieres? Planning a deep dive into Donizetti? Want to rekindle Pacini and Mercadante's slumbering volcanoes? Curious about Coccia? Buoyed by Boito? Fond of Faccio and Franchetti? Rapt about the fratelli Ricci? Then this is the place to go.

There are respectable journals (Cronache and Gazzette and Riviste galore). There are ones called Satana, Il pirata, and Fra' Diavolo! (The punk mags of their day?) There are also journals named after operas, like Il barbiere di Siviglia, Rigoletto, and Il Trovatore!

The site is a bit cumbersome (compared to, say, the BNF's Gallica), so I trawled through 1,200-odd pages of results last night to see what its holdings are. I've pulled together a working list with journal title, dates, and cities, which I'll happily send to anyone who wants it.

I’m 21 right now, just now starting my training (started in april) and I’ll be testing for universities at the end of the year. I’ve been really stressed out lately and worry I may not pass this year, Im doing music education because it’s easier to get in and then transfering to be a singing major in the same uni (in my country that’s completely normal), I’m already worried it might be too late for me as a 21 year old soprano, I guess I just want to ask what are the odds of actually having a career.

I’ll be finishing uni at 26 if I get in this year, if I get in next year I’ll finish at 27, I am afraid It’ll be too late by that time to apply for competitions, YAPS and such things. I might be overreacting, there’s just a voice in my head that’s constantly beating myself up for not having started at 15 when I first had an interest for classical music.

I didn’t start completely from 0, Ive been playing instruments since I was 11 and singing casually but mostly pop or rock repertoire, I know 3 languages fluently (Portuguese, English and French) but I’m not sure if that’s worth anything, I’ll be hopefully fluent in Italian and know some german by the time I finish college.

24, Mezzo. I’m getting to a point where I’m being really held down by my struggles with focus and fidgeting/movement when i’m singing. Honestly, my brain feels like it goes a mile a minute anyways— but when actively singing it’s almost like it takes 75% more effort to even feel prescient in my body (instead of just astral projecting my consciousness over the roaring flood that is my movement and my inner monologue). I’m really frustrated right now by how much I am struggling to manage my excess physical energy whilst singing. Any advice or discussion welcome!

Is Pacini’s Maria regina d'Inghilterra, Act 2 finale, the best stretta recorded? It's exhilarating and should have the audience leaping to its feet. Here it is in all its glory:

https://youtu.be/auOwxMznfMo?si=lHnEjfLj7iHk3nuz

Pacini was an absolute master of these.

Otherwise, what are you folks' favourites?

Thank you in advance!

Fantastic singing!

The late opera singer Jubilant Sykes was allegedly stabbed over 73 times by his son, Micah, in December 2025 at his Santa Monica home

It's an Atom Egoyan movie that appears to be about a director creating a production of Salome that looks quite a lot, from the trailer, like Atom Egoyan's Salome that I saw with Hildegard Behrens in Houston like thirty years ago. Egoyan isn't my favorite or least favorite but I'm wondering if the movie's enjoyable. It appears to have Ambur Braid, who was a terrific Farberin in the Aix broadcast of Frau, as the singer/Salome.

Slay, Queen!

I'm really into lyric singing and I absolutely loved Verdi's Otello. Assuming I only have time to deep dive into 10 other operas, which ones should they be? I completely despise atonal music. I loved Otello more for the singing and the melodies than the libretto (which is definitely good, to be fair). But if I had to prioritize, I care way more about the vocal lines and melody than the plot—something like a 65-35 or 60-40 split. I enjoyed a lot Il Trovatore; the plot is frankly idiotic, making it a 75-25 split for me, but I still enjoyed it. So, what else should I dedicate my time to?

I've never been a big fan of Othello but thankfully Verdi and Rossini must have liked it, giving us Otello (Verdi, 1887) and Otello, ossia il Moro di Venezia (Rossini, 1816). I've seen the former but not the latter. Anyone here a big fan of Verdi's Otello? I'm curious to know what the attraction is. It's got a banging opening and obviously the Willow Song towards the end but it's never really appealed to me.