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Lucerne Festival announces its 2017 Summer Festival.
The GRAMMY Award-winning BEMF Chamber Opera Series returns with an all-new production inspired by the splendor and music of the palace of Versailles. King Louis XIV transformed his father’s pastoral hunting lodge at Versailles into a lavish palace that served as the seat of government and culture in France.
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.
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.