Maria Callas talking about the pressures of fame.

(via nepoykrasavitsa)

Jane Hoffman, soprano
Doug Martin, piano

Recorded on August 12, 2014, at Sean Swinney Studios, NYC

And another new recording! I’m really proud of how this piece turned out. I’ve been working on this aria for a long time, and I’d consider it one of my favorite pieces in my rep, as well as one of the most challenging pieces in my rep. 

On another note, if you’re a classical or jazz musician in the New York area looking to make a high quality studio recording, you should definitely contact Sean Swinney. He has incredible skill, great ears, amazing equipment (vintage mics!), and he’s also a friendly and chill person. 

Jane Hoffman, soprano
Doug Martin, piano

Recorded on August 12, 2014 at Sean Swinney Studios, NYC

New recordings! Have a listen. :)

I really enjoy singing this piece. I try to bring out the intense manipulation and deceitfulness of the Queen in the first section, and then in part two (for lack of a better word) release the crazy bitch within! 

I also have to applaud my fantastic pianist and coach, Doug Martin, who plays this music with such a rich, orchestral texture. He also knows just how to get me outside of myself and focused on bringing out everything that this great music has to offer. 

I love the theatre because of the demands it makes on an audience - to lean forward, to suspend disbelief and to enter into something. And that is what is so truly thrilling for me; this collective agreement that happens. I suppose it’s kind of like church, in the best possible sense of the word - of people sort of communally coming there to sit together, to kneel together, to stand up together… and that’s why I love this medium. That’s what I look for, I look for communion.
Jefferson Mays (via bottomsup-jeffersonmays)

(via yoyoyossarian)

They’re doing a Ring cycle at the Met,
Four operas in one week, for the first time
Since 1939. I went to that one.
Then war broke out, Flagstad flew home, tastes veered
To tuneful deaths and dudgeons. Next to Verdi,
Whose riddles I could whistle but not solve,
Wagner had been significance itself,
Great golden lengths of it, stitched with motifs,
A music in whose folds the mind, at twelve,
Came to its senses: Twin, Sword, Forest Bird,
Envy, Redemption through Love…But left unheard
These fifty years? A fire of answered prayers
Burned round that little pitcher with big ears
Who now wakes. Night. E-flat denotes the Rhine,
Where everything began. The world’s life. Mine.
James Merrill, “The Ring Cycle”, I (from A Scattering of Salts, 1995)

(via parmandil)

parmandil:

Can we cool it a teeny tiny bit on the ‘and they say opera is boring and there are no hot people!!!!!’ kind of comments like

I enjoy watching 1) singers who are hot 2) singers being all over each other just as much as the next person but is this really what we should be marketing opera with

Seriously. If all it took to maintain my interest was attractive people, I’d enjoy The Bachelor.

A happy resident of the land above high C.

twitter.com/SopranoJane

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