Recently in Commentary
East Coast Premiere at Opera Philadelphia next season. Performances from Cold Mountain at the Guggenheim in New York this Monday, March 30.
Five Young Singers Named Winners of the 2015 Met National Council Auditions, America’s Most Prestigious Vocal Competition
Julia Noulin-Mérat is the principal designer for the Noulin-Merat Studio, an intrepid New York City production design firm that works in theater, film, and television, but emphasizes opera and immersive site-specific theatre.
A brand new opera — especially one that is groundbreaking— can really put an opera company on the map. British composer Barry Seaman’s stunning new work, Mirabai, which explores the story of the free thinking, mystic
16th century Hindu princess, Mira, is ambitious on many levels —
artistically, technically and creatively.
Bampton Classical Opera has announced that applications are now open for the
company’s Young Singers’ Competition 2015. This biennial competition was
first launched in 2013 to celebrate Bampton Classical Opera’s 20th
birthday, and is aimed at identifying the finest emerging young opera singers
currently working in the UK.
Anita Rachvelishvili recently performed the title role in Carmen broadcast by The Metropolitan Opera Live in HD. Here she drops by for a little chat with our Maria Nockin.
This is a revised version of my review of the Sept 5th
1991American premiere of The Death of Klinghoffer, at the
Brooklyn Academy of Music. The opera was first performed at Brussels’ La
Monnaie the previous spring.
"Although there are now more people on this planet than there have ever been before, there are fewer dramatic voices. Something is wrong with that equation. I thought there needs to be some sort of helping hand so that dramatic voices don’t fall through the cracks in the system as they advance through their various stages of development."
Anna Prohaska sings Sister Constance in Poulenc’s Dialogues des
Carmélites at the Royal Opera House. In the same month, she’s also in
London to sing a recital with Eric Schneider at the Wigmore Hall, and to sing
Henze with Sir Simon Rattle at the Barbican Hall.
Garsington Opera celebrates its 25th anniversary this year.
Baritone Brandon Coleman’s mother, Linda, knew that 3-year old Brandon
would be a great singer when a stranger who had heard him, predicted it.
Professional opera returns to the Las Vegas Valley June 6th and 8th with performances of one of the best-known comic operas of all time, Gioachino Rossini's Il Barbiere di Siviglia.
I met with the embattled artistic director of the Opéra et Orchestre National de Montepellier not to talk about his battles. I simply wanted to know the man who had cast and staged a truly extraordinary Mozart/DaPonte trilogy.
Maria Nockin interviews tenor Saimir Pirgu.
Italian conductor Claudio Abbado, former principal conductor of the London Symphony Orchestra, has died aged 80
Matthew Polenzani reprises the role of the Chevalier des Grieux in Jules Massenet’s Manon at the Royal Opera House. “I love coming back to London”, he says, “It’s a very good house and they take care of you as a singer. And the level of music making is unbelievably high”.
On Saturday evening January 25, San Diego Opera opens its 2014 season with Ruggero Leoncavallo’s verismo blockbuster Pagliacci (Clowns).
The Flying Dutchman is a transitional piece because Wagner was only beginning to establish his style. He took some aspects from Carl Maria von Weber and others from Italian composers like Vincenzo Bellini.
The Royal Opera House has its own DVD arm, Opus Arte, and is developing quite a global
following with its cinema broadcasts.
27 Sep 2004
Pavarotti’s forgotten predecessor: Bruno Prevedi
By Jan Neckers The line of Decca-tenors seems to run straight from Del Monaco to Bergonzi to Pavarotti. Granted there are some intrusions by Giuseppe Campora, Giuseppe Di Stefano and Franco Corelli but their names are not widely associated with...
By Jan Neckers
The line of Decca-tenors seems to run straight from Del Monaco to Bergonzi to Pavarotti. Granted there are some intrusions by Giuseppe Campora, Giuseppe Di Stefano and Franco Corelli but their names are not widely associated with this label. Granted too that Bergonzi never felt himself to be very welcome by Rosengarten, Decca's big boss who preferred the better-selling Del Monaco and who tried to supplant Bergonzi by Jussi Björling (who died after one failed recording) and Franco Corelli (who was too unreliable). So after his initial five-years exclusivity-contract lapsed, Bergonzi looked to other labels as well. Not until Luciano Pavarotti arrived did Decca once more have a tenor with Del Monaco-fidelity. That was initially more Pavarotti's clamping on than Decca's wish. Indeed the tenor from Modena had to start out with an insulting 45T-record in a time when no classical artist recorded on this format anymore. And the label had no problems in lending him out to EMI to record L'Amico Fritz. One of the reasons behind this policy was that Rosengarten thought the label had more than its fill of Italian tenors in the sixties. Anyway making sure that competition wouldn't pick up the best ones sometimes was an aim too, and then throwing them in the dustbin was a regular feature. Gino Penno only got an MP but retired before he could complain. Flaviano Labo was signed at the same time as Carlo Bergonzi; he got an LP (in the US) and a reduced version of that recording on MP in Europe. And that was it. And then came along a possible successor to Del Monaco and Bergonzi (still only 40 years of age): Bruno Prevedi and for a short time it looked as he would get to wear the robe of the elder tenors. But then his recording career didn't take flight and his theatre career slowed down and petered out.
[Remainder of article here]