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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.
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.
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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