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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).
I’m interviewing Stefano Mastrangelo in the immediate aftermath of his conducting La Traviata for the Chofu City Opera in Tokyo on 22 November 2014; he conveys an air at once of tiredness and exhilaration.
Apotheosis Opera is proud to announce their inaugural production
will be a fully-staged English translation of Richard Wagner’s early
masterpiece TANNHÄUSER on Friday, July 31, 2015, at 7pm and Sunday,
August 2, 2015, at 3pm at the theatre of El Museo del Barrio (1230 5th Avenue)
‘Competitions are for horses, not artists.’ The words of Béla Bartók seemed apposite on Sunday night at the Royal Opera House, as 11 soloists walked swiftly onto the Covent Garden stage, performed their chosen aria, briefly acknowledged the applause and then returned summarily to the wings.
Twin sisters – one pensive, the other gregarious – are soon to wed their beau, whose contrasting characters – one earnestly introverted,
the other a boisterous hedonist – perfectly match their respective betrotheds’.
Derrick Wang is a composer who graduated from law school and has an interest in this country’s highest court.
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
02 Nov 2004
Peter Gelb and the Met
In today's Wall Street Journal, Heidi Waleson opines on the future of the Met under Peter Gelb's leadership. She maintains that, given his background with Sony, this is a radical choice. Comparing his work at Sony with the Met, she...
In today's Wall Street Journal, Heidi Waleson opines on the future of the Met under Peter Gelb's leadership. She maintains that, given his background with Sony, this is a radical choice. Comparing his work at Sony with the Met, she contends that "[l]ike a classical-record company, a big opera house like the Met relies heavily on its 'back catalog,' but its new headliner productions are what create the buzz."
Mr. Gelb has spoken about the need for originality and creativity in music, and in a for-profit environment he sought creativity that had popular appeal. Some of his projects, like Richard Einhorn's haunting score "Voices of Light," created for the silent film "The Passion of Joan of Arc," were artistically successful. And director Julie Taymor, creator of the Met's new "Magic Flute," which sold out all its performances this fall and is one of the company's biggest hits in years, has a history with Mr. Gelb, who produced her "Oedipus Rex" in Japan in 1992.
At Sony, Mr. Gelb was smart enough to reorient the company for survival by taking the resources available and using his considerable marketing and packaging skills to sell them. The Met's resources and challenges are different. But thanks to Mr. Volpe and James Levine, it is a solid organization, well-positioned for some out-of-the-box thinking. For example, Ms. Taymor aside, attention to theatrical values has been sorely lacking in recent Met seasons. Before he turned to the record business, Mr. Gelb was a film and television producer. While his reputation may be colored by the purely commercial quality of some of his Sony creations, in the bastion of high art he may be just the person to revitalize the company's neglected stage, and give the Battleship Met a lively new face for the coming years.
For the complete article, click here (subscription to Wall Street Journal Online required).
Ms. Waleson's analysis may all be true. But, the real test for Mr. Gelb will be the future of the Met broadcasts, the Met's public face to the world. The Met is looking to raise $150 million in a 6-year campaign. In the first eight months of the campaign, it raised a paltry $11 million, $7 million of which is attributable to two foundations. This is hardly a groundswell of public support and strongly suggests that the campaign is doomed to failure. Without the broadcasts, the Met becomes just another local institution that has a great reputation but has little direct impact on operalovers living outside the Big Apple. Here is where Mr. Gelb can best use his experience in the business world to supply a product in high demand at a low cost.