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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.
20 Dec 2004
Michael Tilson Thomas Turns 60
The ageless baton By Allan Ulrich Published: December 20 2004 13:44 | Last updated: December 20 2004 13:44 The conductor Michael Tilson Thomas turns 60 this week and, despite a few streaks of silver in his hair, his is a...
The ageless baton
By Allan Ulrich
Published: December 20 2004 13:44 | Last updated: December 20 2004 13:44
The conductor Michael Tilson Thomas turns 60 this week and, despite a few streaks of silver in his hair, his is a career that does not know the meaning of diminuendo. The erstwhile young firebrand is in hailing distance of becoming a Grand Old Man of American music. He mutters that "60 is the new 40", as he escorts the visitor to the third floor of his San Francisco home. Here, the mementos of a life in the arts - a framed postcard from Igor Stravinsky; a drawing by the California composer Lou Harrison; photographs of Yiddish theatre idols of an earlier generation - compete with the glorious view of San Francisco Bay.
Tilson Thomas has always seemed a contrarian, confronting prevailing myths about the business of music in an uncaring age. The dithyrambs of economic woe emanating from American orchestral circles are not heard in the corridors of the San Francisco Symphony's Davies Hall, where MTT (as he is universally known) is marking his tenth season as music director. He presides over an orchestra budgeted at $50m per annum, one that basks in more enthusiasm from the players and the 32,000 subscribers than when he bowed in the post in 1995.
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