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Rossini’s La donna del Lago at the Royal Opera House boasts a superstar cast. Joyce DiDonato and Juan Diego Flórez are perhaps the best in these roles in the business at this time. Yet the conductor Michele Mariotti is also hot news.
It would seem a logical step for the mezzo-soprano Kate Lindsey to take on
the role of the Composer in Richard Strauss’s Ariadne auf Naxos.
“Aim for excellence”, says Douglas Boyd, new Artistic Director of Garsington Opera at Wormsley, “and the audience will follow you”.
When I spoke with Zandra Rhodes, she was in her large San Diego workspace, which she described as having walls decorated with her own huge black and white drawings.
Palm Beach audiences are famous for their glamour, but in recent years a special star has sparkled amid the jewels, sequins, feathers and furs (whatever the weather).
When the soprano Jessica Pratt first arrived in Italy, she had yet to learn the language or sing in a staged opera.
On Wednesday evening, February 20, Los Angeles Opera gave a press conference at the Dorothy Chandler Pavilion featuring Music Director James Conlon.
It is another “What Could Have Been” moment. The debut of Brokeback
Mountain by Charles Wuorinen is part of Madridʼs Teatro Real coming
Plans for July’s Aix-en-Provence Festival were announced and opera is, of course, at the center of the program with a particularly noteworthy Richard Strauss production.
Amsterdam enjoys a rare visit from Moscow’s Stanislavski Opera at the landmark Koninklijk Carre Theater, for three performances of Tchaikovski’s Eugene Onegin and a Sunday morning opera concert, on February 1st-3rd.
A new festival hall has been inaugurated in the small town of Erl in the Tyrolean mountains.
Yesterday, Conductor Riccardo Muti opened the Rome Opera, where he is “honorary conductor for life,” with a gala presentation of Verdi’s Simon Boccanegra.
When tenor Michael Spyres takes the stage at Carnegie Hall on December 5th, he will be in heady company.
One of the most noteworthy and controversial productions in recent memory
arrived in Belgium with hurricane force as Director Terry Gilliam’s inaugural
opera, an inspired interpretation of Hector Berlioz’s Le Damnation de
Faust, blasted into Ghent, followed by a run in Antwerp.
Florian Boesch is singing Schubert’s Die Schöne Müllerin at the Oxford Lieder Festival on Sunday 14th October. This won’t be routine. Radically challenging conventional interpretation, Boesch says “I don’t believe it ends in suicide”
Exciting developments at Glyndebourne ! Many new initiatives which could transform Glyndebourne from a summer festival to a truly international, year-round opera experience.
The recently released numbers for the past season at Barcelona’s opera Liceu gives some hope for the future.
A record 278,978 people attended events of the 2012 edition of the famed Salzburg Festival in Austria, the largest number since its founding 92 years ago.
Just after things were settling after the scandal of baritone Evgeny Nitikin supposed swastika tattoo at the Bayreuth Festival, another one seems likely to take its place.
Three quarters of the way through this discussion, a question that inhabits the mind of anyone putting any thought to the subject — but no one dare ask — was rhetoricised, “what is opera?”
29 Dec 2004
For Mozart's Archrival, an Italian Renaissance By JASON HOROWITZ MILAN - For more than 200 years, Antonio Salieri's obscure opera "Europa Riconosciuta" ("Europa Revealed") was forgotten. Before its return to La Scala this month, the opera had not been performed...
For Mozart's Archrival, an Italian Renaissance
By JASON HOROWITZ
MILAN - For more than 200 years, Antonio Salieri's obscure opera "Europa Riconosciuta" ("Europa Revealed") was forgotten.
Before its return to La Scala this month, the opera had not been performed since the theater's inauguration in 1778, when castrati sang the leading roles. That was also long before nasty gossip, literary hyperbole and Hollywood myth helped to sink the Italian composer into musical history's footnotes as Mozart's murderer, and thrust his operas into oblivion.
"People think he was a bad guy and a poor composer, but that's not fair," said Otto Biba, director of the archives at the Society of Friends of Music in Vienna, which Salieri helped found and that houses many of his manuscripts. "For too long," Mr. Biba said, "people have seen him as uninteresting, and if they take an interest at all, it is negative."
But La Scala's decision to restage the opera for the theater's reopening this month, after a three-year restoration, has turned the site into a kind of rehabilitation center for the 18th-century composer's reputation. Some of Italy's greatest opera stars are performing Salieri arias, while critics praise him and Italy swells with national pride.
Suddenly, demand has increased for his recordings and for the clearing of his name. Few names in music have been vilified so unfairly.
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