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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.
Last year's Oxford Lieder Festival made something of a splash when it encompassed all of Schubert's songs, performed in the space of three weeks. This year's festival, the 14th, which runs from 16 to 31 October 2015 has a rather different, yet still eye-catching theme; Singing Words: Poets and their Songs.
The First of Three Donizetti Queens She Will Sing at the Met This Season
For a company founded in 2013, Odyssey Opera has an astounding track record. To take on Korngold’s Die tote Stadt is ambitious enough, but to do so within only a year of the company’s founding seems almost single-minded.
The name of Hibla Gerzmava has been famous in the opera world since 1994,
when at age 24 the Abkhazian-Russian soprano won the Grand Prix at Tchaikovsky
International Competition, entering its history as the first and only vocalist
to have been awarded the highest prize.
American tenor René Barbera is fast making a name for himself as one of the
top bel canto singers in opera houses around the world.
(Boston, MA) — Odyssey Opera, a Boston-based opera company dedicated to exploring the full spectrum of adventurous repertoire, presents the Boston premiere of one of France’s great operas, Le Cid (1885), composed by Jules Massenet (1842–1912).
26 Nov 2004
On Callas Forever
One for the opera buffs: 'Callas Forever' profiles a diva on the downslope Friday, November 26, 2004 By WILLIAM ARNOLD SEATTLE POST-INTELLIGENCER MOVIE CRITIC At first thought, Fanny Ardant would seem all wrong to play opera diva Maria Callas....
One for the opera buffs: 'Callas Forever' profiles a diva on the downslope
Friday, November 26, 2004
By WILLIAM ARNOLD
SEATTLE POST-INTELLIGENCER MOVIE CRITIC
At first thought, Fanny Ardant would seem all wrong to play opera diva Maria Callas. The French star ("Ridicule," "Eight Women") conveys thoughtful intelligence and quiet elegance, while the ethnic-Greek Callas is remembered as the epitome of fiery temperament.
But in Franco Zeffirelli's "Callas Forever," Ardant definitely pulls it off. The film, which was released in Europe more than two years ago, is fairly forgettable but Ardant blends into the sad character so completely that we lose all sense of an actress playing a role.
And she's so commanding in her scenes lip-syncing Callas' sublime voice that the movie sparkles here and there with real magic. It's aimed at opera buffs, but a lot of non-fans will be rushing out to buy the soundtrack album.
The story is a what-if concoction set in 1977, when Callas is 53, long retired from the stage and living a hermitic existence in her Paris apartment, as a character describes her, "mourning the loss of her voice, her career and her youth."
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