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.
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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