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"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.
Professional opera returns to the Las Vegas Valley June 6th and 8th with performances of one of the best-known comic operas of all time, Gioachino Rossini's Il Barbiere di Siviglia.
I met with the embattled artistic director of the Opéra et Orchestre National de Montepellier not to talk about his battles. I simply wanted to know the man who had cast and staged a truly extraordinary Mozart/DaPonte trilogy.
Maria Nockin interviews tenor Saimir Pirgu.
Italian conductor Claudio Abbado, former principal conductor of the London Symphony Orchestra, has died aged 80
Matthew Polenzani reprises the role of the Chevalier des Grieux in Jules Massenet’s Manon at the Royal Opera House. “I love coming back to London”, he says, “It’s a very good house and they take care of you as a singer. And the level of music making is unbelievably high”.
On Saturday evening January 25, San Diego Opera opens its 2014 season with Ruggero Leoncavallo’s verismo blockbuster Pagliacci (Clowns).
The Flying Dutchman is a transitional piece because Wagner was only beginning to establish his style. He took some aspects from Carl Maria von Weber and others from Italian composers like Vincenzo Bellini.
The Royal Opera House has its own DVD arm, Opus Arte, and is developing quite a global
following with its cinema broadcasts.
On a personal level, I feel that Dolores is almost like Emmeline grown up. Their circumstances are not exactly parallel, but they are both women at very different points in their lives whose stories involve dilemmas with life-changing outcomes.
With the help of Andrew Welch, a London theatrical producer who had adapted several of King’s works for the stage, including this one, I got the rights to both Dolores Claiborne and Misery.
On September 18, 2013, San Francisco Opera will present the world premiere of Tobias Picker’s opera, Dolores Claiborne, which has a libretto by J. D. McClatchy based on Stephen King’s novel of the same name.
Ermonela Jaho caused a sensation at Covent Garden in London five years ago, when she took over Violetta at short notice from Anna Netrebko.
What do you get if you cross Benjamin Britten, ‘one-page scores’, an innovative performing ensemble and ‘Wigmore Learning’ — the Wigmore Hall’s imaginative outreach programme which aims to provide access to chamber music and song through innovative creative programmes, online resources and events?
Marseille woke up this past January 11 stunned to find itself number two on the New York Times list of 46 places you should visit in 2013 (Rio was number one, Paris just made the list at number 46).
Garsington Opera at Wormsley is producing the British premiere of Giacomo Rossini´s Maometto Secondo. Garsington Opera is well-known for its role in reviving Rossini rarities in Britain. Since 1994, there have been 14 productions of 12 Rossini operas, and David Parry has
conducted eleven since 2002. He´s very enthusiastic about Maometto Secondo.
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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