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Sara Gartland is an emerging singer who brings an enormous talent and a delightful personality to the opera stage. Having sung lighter soprano roles such as Juliette in Gounod’s Romeo et Juliette and Violetta in Verdi’s La traviata, Gartland is now taking on the title role in Leoš Janáček’s dramatic opera Jenůfa.
Madness descends upon Welsh National Opera for its autumn 2015 season, with three new productions that will explore human turmoil through some of the finest musical expressions of madness and the human condition.
American composer Jennifer Higdon has won many awards for her imaginative music. Her percussion concerto received the 2009 Grammy Award for Best Contemporary Classical Composition.
Bratislava in Slovakia might seem an unlikely place to come across the opera
I gioielli della Madonna (The Jewels of the Madonna) a 1911 rarity
written by the Italian/German Ermanno Wolf-Ferrari, a composer best known for
his one-act opera Il segreto di Susanna ( Susanna’s Secret)
and his comedies based on Goldoni.
Last year’s Strauss anniversary year — 150 years since his birth —
offered, at least in the United Kingdom, a typical number of opportunities and
On 6 June, Jonathan Dove’s Flight touches down in Kensington,
west London. Opera Holland Park is to stage the first London production of
Dove’s operatic presentation of the real-life story of Mehran Karimi Nasseri,
the Iranian exile who, lacking residency rights or refugee status, was forced
to live in the departure lounge of Terminal One at Charles de Gaulle Airport
for 18 years.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
Kathleen Ferrier may have been one of the world’s finest contraltos but this year’s Kathleen Ferrier Awards Final, held at the Wigmore Hall, was all about lyric sopranos.
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.
30 Nov 2004
La Diva Renée
The 'Voice' of the Darling Diva By BARBARA JEPSON November 30, 2004 New York For sheer beauty of sound, no soprano today can match Renee Fleming. Her rich, golden-hued voice shines and seduces; she can sustain a long-lined legato passage,...
The 'Voice' of the Darling Diva
By BARBARA JEPSON
November 30, 2004
For sheer beauty of sound, no soprano today can match Renee Fleming. Her rich, golden-hued voice shines and seduces; she can sustain a long-lined legato passage, change the color of a phrase from sunlight to shadow. And her initially weak interpretive skills have deepened during the past decade.
Such considerable gifts, coupled with a pretty face, have brought Ms. Fleming a level of celebrity few American opera singers have enjoyed. She's inspired an extravagant chocolate dessert by chef Daniel Boulud (La Diva Renee) and a character in a novel ("Bel Canto") by Ann Patchett. Along with tenor Placido Domingo and mezzo-soprano Cecilia Bartoli, she's one of a select handful of singers who can guarantee box-office success.
But in recent years she's at times sounded tentative or indulgent, overusing certain expressive devices like sliding into high notes. She has also faced some challenges. Most of the latter occurred in 1998, around the time when her 10-year marriage to actor Rick Ross broke up. There were episodes of anxiety and stage fright that required the ministrations of a psychiatrist. There was controversy over her approach to the virtuosic bel canto ("beautiful singing") repertory, most notably the much-publicized booing episode at the conclusion of her "Lucrezia Borgia" at Italy's La Scala, where opera performance is viewed as more of a blood sport. And there was her withdrawal from an originally scheduled Metropolitan Opera debut as Violetta in "Traviata" that year.
[Click here for remainder of review (subscription to Wall Street Journal Online required).]