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Opera News is an American classical music magazine. It has been published since 1936 by the Metropolitan Opera Guild, a non-profit organization located at Lincoln Center which was founded to promote opera and also support the Metropolitan Opera of New York City. Opera News was initially focused primarily on the Met, particularly providing information for listeners of the Saturday afternoon live Metropolitan Opera radio broadcasts. Over the years, the magazine has broadened its scope to include the larger American and international opera scenes. Currently published monthly, Opera News offers opera related feature articles; artist interviews; production profiles; musicological pieces; music-business reportage; reviews of performances in the United States and Europe; reviews of recordings, videos, books and audio equipment; and listings of opera performances in the U.S.

Opera News[note 1] was founded in 1936 by the Metropolitan Opera Guild with Mrs. John DeWitt Peltz (Mary Ellis Peltz) serving as the publication's first editor.[3] It was initially intended to be a "useful, instructive, and factual weekly newspaper of Opera in New York".[This quote needs a citation] Its first issue was published on 7 December 1936 and consisted of only one folded broadsheet. Its second year of publication saw its transformation into a 17-page magazine with advertising, with its first magazine issue appearing on 15 November 1937. Beginning with the December 1940 issue, the magazine began to concentrate much of its content on the weekly Metropolitan Opera radio broadcasts. The magazine at this point offered bi-weekly issues of an expanded size during the Fall, Winter, and Spring, but was on hiatus during the summers. As time went on, the magazine began to take on a more international scope of coverage; but it still maintained a strong interest in the New York opera scene and the Met in particular.

Frank Merkling succeeded Peltz as the second chief editor of Opera News, with his first issue appearing on 14 October 1957.[4] In 1972, the magazine became a year-round publication, adding monthly issues in the summer months while maintaining its bi-weekly schedule during the opera season. In 1974, Robert Jacobson became the magazine's third chief editor.[5] Jacobson was succeeded by Patrick O'Connor (1988), who was succeeded in 1989 by Patrick J. Smith. In 1998, Smith was succeeded by Rudolph S. Rauch. Under the leadership of Rauch and executive editor Brian Kellow, the magazine switched to a monthly publication format in September 1998. F. Paul Driscoll, the current editor in chief, was appointed in July 2003.

The Met announced Tuesday that the Metropolitan Opera Guild, a separate company formed in 1935 by Eleanor Belmont to aid the opera house, will scale back operations and become a supporting organization of the Met. The opera company will take over the education program that allows about 12,000 school children each year to attend dress rehearsals.

Opera News has a 43,000 circulation, including 32,000 in print and 11,000 digital. It is distributed to 28,000 Guild members and has an additional 9,000 paid subscribers. After publishing biweekly during the opera season since 1940, Opera News added monthly summer editions in 1972 and switched to a year-round monthly schedule in 2008.

The Met said 20 Guild employees will get severance packages but the opera company hoped to hire several. Guild board members are being invited to join the Met board. The annual Opera News Awards and luncheon honoring singers will be discontinued.

The standalone Opera News app was launched a year later becoming the first news app developed with a focus on Africa and Southeast Asia. Opera News Hub is an online editorial platform focused on empowering local content creation. It was initially launched in November 2019. Each day tens of thousands of content creators and journalists of the Opera News Hub work on and publish stories and videos that matter to their local audiences. This makes Opera News a unique platform relevant on each of the markets it is present in.

ON: I know of no other opera program offering anything comparable to the unique cooperative program in which your opera students participate when they are not performing in their major field of study.

TS: Indeed it is. This year we have four directors and five coaches. Our stage directors not only are kept busy studying Italian, French and German; they direct operas that are entirely their own. They are fully in charge of staging, set design, costumes and lights. What better experience for an aspiring director than to have been an assistant stage manager or worked backstage as a stagehand? The same is true of our student opera coaches. Coming from a background of playing piano and coaching, I fully understand how demanding and difficult it is to be a successful opera coach. Coaches study Italian, French and German. They must be able to write and converse in Italian, French, German and English. This requirement is nonnegotiable. As a result, in any given production our student coaches can be found prompting singers or running supertitles. Perhaps they will work with front-of-house management or be an usher. I want our Opera Performance students to know the nuts and bolts of what it takes to run an opera house and produce an opera.

FRANCISCO SALAZAR, (Publisher) worked as a reporter for Latin Post where he has had the privilege of interviewing numerous opera stars including Anita Rachvelishvili and Ailyn Perez. He also worked as an entertainment reporter where he covered the New York and Tribeca Film Festivals and interviewed many celebrities such as Antonio Banderas, Edgar Ramirez and Benedict Cumberbatch. He currently freelances for Remezcla.

As often as possible, on Fridays I will post interviews with colleagues from the field who are far more knowledgeable than I am on various marketing and publicity topics. This week, we have F. Paul Driscoll, Editor-in-Chief of Opera News, on bewitching divas, the good, the bad, and the ugly of opera blogging, and the basics of how to pitch a glossy magazine.

F. Paul Driscoll has been Editor in Chief of OPERA NEWS since 2003. He began contributing to the magazine in 1990 and joined the editorial staff as managing editor in 1998. He was born in New York City and raised in Westchester. His first live opera experience was Tosca at the Metropolitan Opera in 1969, with Renata Tebaldi, Cornell MacNeil and Sandor Konya.

Photo: Kate Weiman

Caroline Worra is game. Taking the lead role in Long Beach Opera's June production of Handel's Semele, set by director Isabel Milenski in a modern-day Texas of seedy motels and big-money barbecues, the brave soprano set her eyes on Jupiter (Benjamin Brecher in a ten-gallon hat), then sneaked off with him to his parked convertible. To the strains of "Endless Pleasure, Endless Love," the couple got to know each other in the Biblical sense, Worra's silvery rendition of the da capo ornamentation coming across as an expression of her ever-increasing sensual enjoyment.

"It certainly would have been a lot easier to stand there and sing it," Worra says, laughing. But if a director asks, she'll give it a shot. "I try not to say no to anything, because I think it's just my responsibility to figure out how to be able to do it." This attitude extends to the parts she chooses to sing as well, making her repertoire difficult to summarize. More and more, it's both the old and the new - parts such as the mad Jenny in Richard Rodney Bennett's The Mines of Sulphur (recently released on a Chandos recording), Curley's Wife in Carlisle Floyd's Of Mice and Men, Amy in Mark Adamo's Little Women and the title heroines Semele, Arianna and Agrippina. "I think for me it's especially healthy if I can always go back and be singing early music between twentieth-century [works] or between operettas," she says. "Because I think that it always brings it back to make sure that I'm staying on that pure line."

After stints in San Francisco Opera's Merola Opera and Pittsburgh Opera's young artists program, Worra cut her teeth singing small roles and covering big ones at Glimmerglass Opera and New York City Opera. Though she was never asked to go on, the experience of covering honed her work ethic and taught her psychological fortitude. 2006 sees her as Donna Elvira in NYCO's Don Giovanni, as Mabel in Glimmerglass's Pirates of Penzance and in a Weill Hall recital debut (with a fellow University of Missouri alum, tenor Ryan MacPherson).

The Wisconsin native, a runner-up in her state beauty contest, intended to be a pianist, and the technique still informs her singing. "When I do lots of fioritura, lots of fast runs, I feel like they're on the piano and I'm just thinking them." She calls a quiet corner in the Bronx home now. The call of regional opera is increasingly taking her away from this idyll, but Worra doesn't mind. She likes the challenges of travel, of unknown companies, new parts and directors asking her to do who-knows-what. "I try to always be a student," she says. "I'm constantly in a state of improving."