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What’s an artist’s place in politics? That’s the question
many were asking after actress Meryl Streep made a pointed speech criticizing
President Trump at the Golden Globes. Trump responded directly to Streep, using
his preferred communication medium of Twitter to call Streep
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
The college administration and President Denise Battles’ recent
decision to defund the Finger Lakes Opera came as a shock to many and a concern
to more. This decision reflects the administration’s blatant disregard
for the arts and reveals a mindset that is counterproductive to the mission of
Lucerne Festival announces its 2017 Summer Festival.
The GRAMMY Award-winning BEMF Chamber Opera Series returns with an all-new production inspired by the splendor and music of the palace of Versailles. King Louis XIV transformed his father’s pastoral hunting lodge at Versailles into a lavish palace that served as the seat of government and culture in France.
Louis Karchin’s Jane Eyre, a full-length opera in three acts with a libretto by Diane Osen based on Charlotte Bronte’s novel, will receive its world premiere at The Kaye Playhouse (Hunter College) on Thursday, October 20, 7:30pm with a second performance on Saturday, October 22, 8pm. Jane Eyre is Karchin’s second opera, composed in 2014, following his critically acclaimed one-act comic opera Romulus.
Cambridge, MA–The Boston Early Music Festival (BEMF) is pleased to announce the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director.
Kseniia Muslanova from the Russian Federation has won the 3rd annual Elizabeth Connell Prize for aspiring dramatic sopranos held at the Sydney Conservatorium of Music in Sydney Australia on 3 September 2016.
Victory Hall Opera is a new company making its debut in Charlottesville Virginia on August 14, 2016. Its first presentation will be Richard Strauss’s and Hugo von Hofmannsthal’s Der Rosenkavalier.
Lyric soprano Elizabeth Caballero’s signature role is Violetta in La traviata, which she portrays with a compelling interpretation, focused sound, and elegant coloratura that floats through the opera house as naturally as waves on the ocean.
Maria Nockin interviews baritone Brian Mulligan.
I arrive at the Jerwood Space, where rehearsals are underway for Garsington
Opera’s forthcoming production of Idomeneo, to find that the
afternoon rehearsal has finished a little early.
Tickets on Sale NOW for June 10 & 12 Performances at UNLV’s Performing Arts Center Box Office
A Double-Bill of Divine Comedies
With its merry-go-round exchange of deluded and bewitched lovers, an orphan-turned-princess, a usurped prince, a jewel and a flower with magical properties, a march to the scaffold and a meddling ‘mistress-of-ceremonies’ who encourages the young lovers to disguise and deceive, William Makepeace Thackeray’s The Rose and the Ring has all the ingredients of an opera buffa.
Kathleen Kelly is an internationally renowned pianist, coach, conductor, and master teacher. She was the first woman and first American named Director of Musical Studies at the Vienna State Opera.
Atsuto Sawakami is a slightly built man in his late sixties with impeccable, gentlemanly manners. He communicates a certain restless energy and his piercingly bright eyes reveal an undimmed appetite for life.
‘Lieder v. Opera’? At first glance it might seem to be a pointless or nonsensical question.
Extreme Dolly Parton fans may sound like unlikely subjects for an opera, but they are the major characters in Heartbreak Express, a collaboration of composer George Lam and librettist John Clum.
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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