Recently in Commentary
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.
On a personal level, I feel that Dolores is almost like Emmeline grown up. Their circumstances are not exactly parallel, but they are both women at very different points in their lives whose stories involve dilemmas with life-changing outcomes.
With the help of Andrew Welch, a London theatrical producer who had adapted several of King’s works for the stage, including this one, I got the rights to both Dolores Claiborne and Misery.
On September 18, 2013, San Francisco Opera will present the world premiere of Tobias Picker’s opera, Dolores Claiborne, which has a libretto by J. D. McClatchy based on Stephen King’s novel of the same name.
Ermonela Jaho caused a sensation at Covent Garden in London five years ago, when she took over Violetta at short notice from Anna Netrebko.
28 Oct 2004
FT on Countertenor Lawrence Zazzo
US countertenor who is a wow in Europe By Francis Carlin Published: October 28 2004 03:00 | Last updated: October 28 2004 03:00 It is always a good sign when you find a singer attending a performance of something else...
US countertenor who is a wow in Europe
By Francis Carlin
Published: October 28 2004 03:00 | Last updated: October 28 2004 03:00
It is always a good sign when you find a singer attending a performance of something else on his night off. I met the countertenor Lawrence Zazzo and his wife Giselle Allen, a soprano with Opera North in Leeds, at Gualtiero Dazzi's opera Le Luthier de Venise at the Châtelet in Paris.
It is a surprising, poetical work that happens to have a big role for a countertenor. Aha, I thought, that's why he's here. Wrong: they were providing moral support for the soprano Christine Buffle, a friend of Giselle's.
This solidarity is typical of Zazzo. Last Sunday he finished a run of Monteverdi's L'Incoronazione di Poppea at the Théâtre des Champs Elysées in a new production by David McVicar that travels to Strasbourg next year, then to Berlin and Brussels. I did not care for McVicar's camp extravaganza but was impressed by how easily Zazzo's Ottone carried in a theatre known for its difficult acoustics.
It is a rich, beefy sound, which his wife once called "ballsy". Zazzo himself says he tries to find a middle sound between "churchy and brassy". "I have the low notes for the alto castrato roles Handel wrote for Senesino. I've got enough of the beef now to carry in modern houses. My voice is getting louder, perhaps because I've been able to rest it and keep it in shape."
[Click here for remainder of article (subscription to Financial Times Online required).]