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.
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?
17 Oct 2004
The Independent: John Tavener Rejects Orthodox Faith; To Compose Theatric Work Based on Krishna
Top composer Tavener turns to Islam for inspiration The Orthodox faith inspired him for more than 25 years, but after a rift with his spiritual adviser, the composer has rejected its 'tyranny' in a major work based on the Koran....
Top composer Tavener turns to Islam for inspiration
The Orthodox faith inspired him for more than 25 years, but after a rift with his spiritual adviser, the composer has rejected its 'tyranny' in a major work based on the Koran.
Anthony Barnes reports
17 October 2004
Sir John Tavener, the classical composer whose life and works have been guided by the principles of the Orthodox Church for more than two decades, has now turned to Islam for inspiration.
In 1997 his work found fame around the world when it was played at the funeral of Diana, Princess of Wales. The piece, Song for Athene, was written to the rules of the Orthodox Church, as almost all his work had been since he converted to the faith in 1977.
But Sir John says that working to these principles - using set melodic formulas - became a "tyranny" and that he no longer wishes to stick to a particular system. He attends church less regularly than in the past and finds it "trying" to deal with people who are overly Orthodox.
Last year Sir John had a falling-out with his spiritual muse, Mother Thekla, a Russian abbess who lives in a North Yorkshire monastery and whom he used to phone daily. She also provided the words to some of his works.
[Remainder of article here (no subscription required)]