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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.
What do you get if you cross Benjamin Britten, ‘one-page scores’, an innovative performing ensemble and ‘Wigmore Learning’ — the Wigmore Hall’s imaginative outreach programme which aims to provide access to chamber music and song through innovative creative programmes, online resources and events?
Marseille woke up this past January 11 stunned to find itself number two on the New York Times list of 46 places you should visit in 2013 (Rio was number one, Paris just made the list at number 46).
Garsington Opera at Wormsley is producing the British premiere of Giacomo Rossini´s Maometto Secondo. Garsington Opera is well-known for its role in reviving Rossini rarities in Britain. Since 1994, there have been 14 productions of 12 Rossini operas, and David Parry has
conducted eleven since 2002. He´s very enthusiastic about Maometto Secondo.
Rossini’s La donna del Lago at the Royal Opera House boasts a superstar cast. Joyce DiDonato and Juan Diego Flórez are perhaps the best in these roles in the business at this time. Yet the conductor Michele Mariotti is also hot news.
It would seem a logical step for the mezzo-soprano Kate Lindsey to take on
the role of the Composer in Richard Strauss’s Ariadne auf Naxos.
“Aim for excellence”, says Douglas Boyd, new Artistic Director of Garsington Opera at Wormsley, “and the audience will follow you”.
When I spoke with Zandra Rhodes, she was in her large San Diego workspace, which she described as having walls decorated with her own huge black and white drawings.
Palm Beach audiences are famous for their glamour, but in recent years a special star has sparkled amid the jewels, sequins, feathers and furs (whatever the weather).
When the soprano Jessica Pratt first arrived in Italy, she had yet to learn the language or sing in a staged opera.
On Wednesday evening, February 20, Los Angeles Opera gave a press conference at the Dorothy Chandler Pavilion featuring Music Director James Conlon.
It is another “What Could Have Been” moment. The debut of Brokeback
Mountain by Charles Wuorinen is part of Madridʼs Teatro Real coming
Plans for July’s Aix-en-Provence Festival were announced and opera is, of course, at the center of the program with a particularly noteworthy Richard Strauss production.
Amsterdam enjoys a rare visit from Moscow’s Stanislavski Opera at the landmark Koninklijk Carre Theater, for three performances of Tchaikovski’s Eugene Onegin and a Sunday morning opera concert, on February 1st-3rd.
A new festival hall has been inaugurated in the small town of Erl in the Tyrolean mountains.
07 Oct 2004
Licia Albanese at the Opening of the San Francisco Performing Arts Library and Museum's Exhibition "Madame Butterfly: From Puccini to Miss Saigon"
Many a tear was shed when soprano Licia Albanese sang. Now she is celebrating her signature work, 'Madama Butterfly.' Allan Ulrich, Special to The Chronicle Monday, October 4, 2004 Was she or wasn't she? Licia Albanese is adamant. "Diva? Hah!...
Many a tear was shed when soprano Licia Albanese sang. Now she is celebrating her signature work, 'Madama Butterfly.'
Allan Ulrich, Special to The Chronicle
Monday, October 4, 2004
Was she or wasn't she? Licia Albanese is adamant.
"Diva? Hah! I was never a diva. No, no. What does it mean? Only God makes a diva. No, just call me a plain singer with lots of expression."
For almost seven decades, the opera world has begged to differ. Plain never applied to Albanese. At the mere sound of the Italian soprano's voice, listeners have reached for their handkerchiefs and their lists of superlatives.
Albanese's searing portrayals of the lyric stage's most vulnerable heroines -- Cio-Cio San, Mimì, Violetta, Liu, Manon Lescaut -- have left their mark on generations of opera folk. You can attribute it to the distinctive character of the Albanese voice (the medium-weight instrument Italians call a lirico spinto), marked by its quick vibrato, incisive diction, intensity of attack and the unerring ability to go for the emotional jugular. Or, you can credit that mysterious, indefinable quality of artlessness concealing art.
Now 91, Albanese is apparently blessed with total recall of colleagues as legendary as the honey-throated tenor Beniamino Gigli (whom she always addressed, respectfully, as "Commendatore") and the irascible conductor Arturo Toscanini (whom she calls "cute"), and she is bursting with advice for the younger generation of singers.
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