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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
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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.
11 Dec 2004
Bolcom in Chicago
Marriage and manners By George Loomis [Financial Times] Published: December 10 2004 02:00 | Last updated: December 10 2004 02:00 The general director of Lyric Opera of Chicago, William Mason, likes to put his company's relationship with William Bolcom in...
Marriage and manners
By George Loomis [Financial Times]
Published: December 10 2004 02:00 | Last updated: December 10 2004 02:00
The general director of Lyric Opera of Chicago, William Mason, likes to put his company's relationship with William Bolcom in historical context. "It's our hope that 100 years from now, just as people speak of Verdi in Venice and Milan, and Rossini in Naples, they will speak of Bolcom in Chicago." Even granting the surge of new operas in the US, Mason's allusion to 19th-century Italy is audacious. Yet one cannot deny that Bolcom's ties to the Lyric, where on Saturday A Wedding becomes his third world premiere for the company and where a fourth opera is in progress, represent something special among the big American opera houses.
It is heartening to find an operatic audience approaching a new work with an earlier age's inkling of what to expect stylistically. Having experienced McTeague (1992) and A View from the Bridge (1999), the Chicago audience can be confident that the new opera will have sure theatrical values, ingratiatingly written vocal lines and music with a broad eclectic underpinning. And just as A View from the Bridge profited from Arthur Miller's personal contribution as his play was turned into an opera, so too Robert Altman has helped shape A Wedding out of his 1978 film; Altman also stages the opera, as he did McTeague.
Unlike its predecessors at the Lyric, A Wedding is a comedy -a chance, perhaps, to write something in the style of Rossini, whose celebrated affability Bolcom himself brings to mind? "Don't I wish!" he said in the apartment of his long-time collaborator Arnold Weinstein in Manhattan's Chelsea Hotel. "I adore Rossini. I wish I could write like that!" His modesty notwithstanding, Bolcom's music has a similar power to captivate, and the "multifarious styles" that his works draw on are deployed in so personal and inventive a manner that he's never accused of writing down to the public.
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