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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.
18 Jan 2005
Mozart's Mass in C Minor Completed
Mozart left comparatively few major (or potentially major) works unfinished, and while it may seem daunting – presumptious even – for another musician to complete these scores, the lure of making an incomplete work whole is clearly too great to resist.
Can the results ever be more than hyphenated Mozart? Probably not. A musicologist steeped in Mozart’s musical moves may project what the composer might have done at any point in a work, based on what he did in similar scores, and the completion may sound thoroughly Mozartean. But Mozart often came up with solutions that are completely surprising. Part of what made him Mozart – in fact, part of what makes any great composer great – is unpredictability.
Happy Ending for Unfinished Mozart
By ALLAN KOZINN
Mozart left comparatively few major (or potentially major) works unfinished, and while it may seem daunting - presumptious even - for another musician to complete these scores, the lure of making an incomplete work whole is clearly too great to resist.
Can the results ever be more than hyphenated Mozart? Probably not. A musicologist steeped in Mozart's musical moves may project what the composer might have done at any point in a work, based on what he did in similar scores, and the completion may sound thoroughly Mozartean. But Mozart often came up with solutions that are completely surprising. Part of what made him Mozart - in fact, part of what makes any great composer great - is unpredictability.
Robert D. Levin, a superb pianist and a skilled, conscientious musicologist, has completed or reconstructed several works by Mozart and other composers. His version of the Mozart Requiem is the most satisfying of the many completions of that score. One gets the sense, from both his essays and lectures, that his decisions in these projects are carefully weighed and also that he takes enormous joy in having reached conclusions that are both historically proper and musically enlivening.
His latest reconstruction, unveiled on Saturday evening at the valedictory concert of Carnegie Hall's weeklong Choral Workshop, is a completion of Mozart's Mass in C minor (K. 427), commissioned by Carnegie Hall for the occasion. It was given a robust, soulful performance by the Carnegie Hall Festival Chorus (that is, the participants in the choral workshop) and the Orchestra of St. Luke's, led by Helmuth Rilling, one of the world's most eloquent choral directors.
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