Recently in Commentary
Lyric soprano Elizabeth Caballero’s signature role is Violetta in La traviata, which she portrays with a compelling interpretation, focused sound, and elegant coloratura that floats through the opera house as naturally as waves on the ocean.
Maria Nockin interviews baritone Brian Mulligan.
I arrive at the Jerwood Space, where rehearsals are underway for Garsington
Opera’s forthcoming production of Idomeneo, to find that the
afternoon rehearsal has finished a little early.
Tickets on Sale NOW for June 10 & 12 Performances at UNLV’s Performing Arts Center Box Office
A Double-Bill of Divine Comedies
With its merry-go-round exchange of deluded and bewitched lovers, an orphan-turned-princess, a usurped prince, a jewel and a flower with magical properties, a march to the scaffold and a meddling ‘mistress-of-ceremonies’ who encourages the young lovers to disguise and deceive, William Makepeace Thackeray’s The Rose and the Ring has all the ingredients of an opera buffa.
Kathleen Kelly is an internationally renowned pianist, coach, conductor, and master teacher. She was the first woman and first American named Director of Musical Studies at the Vienna State Opera.
Atsuto Sawakami is a slightly built man in his late sixties with impeccable, gentlemanly manners. He communicates a certain restless energy and his piercingly bright eyes reveal an undimmed appetite for life.
‘Lieder v. Opera’? At first glance it might seem to be a pointless or nonsensical question.
Extreme Dolly Parton fans may sound like unlikely subjects for an opera, but they are the major characters in Heartbreak Express, a collaboration of composer George Lam and librettist John Clum.
Last year's Oxford Lieder Festival made something of a splash when it encompassed all of Schubert's songs, performed in the space of three weeks. This year's festival, the 14th, which runs from 16 to 31 October 2015 has a rather different, yet still eye-catching theme; Singing Words: Poets and their Songs.
The First of Three Donizetti Queens She Will Sing at the Met This Season
For a company founded in 2013, Odyssey Opera has an astounding track record. To take on Korngold’s Die tote Stadt is ambitious enough, but to do so within only a year of the company’s founding seems almost single-minded.
The name of Hibla Gerzmava has been famous in the opera world since 1994,
when at age 24 the Abkhazian-Russian soprano won the Grand Prix at Tchaikovsky
International Competition, entering its history as the first and only vocalist
to have been awarded the highest prize.
American tenor René Barbera is fast making a name for himself as one of the
top bel canto singers in opera houses around the world.
(Boston, MA) — Odyssey Opera, a Boston-based opera company dedicated to exploring the full spectrum of adventurous repertoire, presents the Boston premiere of one of France’s great operas, Le Cid (1885), composed by Jules Massenet (1842–1912).
I’m interviewing Stefano Mastrangelo in the immediate aftermath of his conducting La Traviata for the Chofu City Opera in Tokyo on 22 November 2014; he conveys an air at once of tiredness and exhilaration.
Apotheosis Opera is proud to announce their inaugural production
will be a fully-staged English translation of Richard Wagner’s early
masterpiece TANNHÄUSER on Friday, July 31, 2015, at 7pm and Sunday,
August 2, 2015, at 3pm at the theatre of El Museo del Barrio (1230 5th Avenue)
‘Competitions are for horses, not artists.’ The words of Béla Bartók seemed apposite on Sunday night at the Royal Opera House, as 11 soloists walked swiftly onto the Covent Garden stage, performed their chosen aria, briefly acknowledged the applause and then returned summarily to the wings.
Twin sisters – one pensive, the other gregarious – are soon to wed their beau, whose contrasting characters – one earnestly introverted,
the other a boisterous hedonist – perfectly match their respective betrotheds’.
11 Aug 2005
Unearthed Vivaldi Aria Premiered in Australia
Today at the University of Melbourne, an excerpt from Vivaldi's newly discovered choral setting of Psalm 110 ("Dixit Dominus") received its modern premiere, marking an historic occasion not only for musicologists but for the field in general.
By Carlo Vitali [Musical America]
Countertenor Christopher Field performed "De torrente in via bibet," an aria for alto and strings from the work's ninth movement, at the Faculty of Music's Melba Hall, with Linda Kent conducting the school's Baroque ensemble. Dr. Janice Stockigt, a musicologist at the University, recently identified the 11-movement piece for choir, soloists and orchestra, capping a five-year research project in Dresden's Saxon State Library. She says the score formerly had been attributed to Vivaldi's younger Venetian contemporary Baldassarre Galuppi.
Stockigt's finding that this "Dixit Dominus" was in fact Vivaldi's was subsequently confirmed by Michael Talbot, a leading expert on the composer and professor emeritus at the University of Liverpool. Though the work is but one of his three extant Psalm 100 settings, its importance in the study of his overall oeuvre is paramount. The spectactular choral fugue concluding the piece on the words "Sicut erat in principio," for example, overturns the traditionally accepted notion that Vivaldi didn't care much for strict counterpoint.
Indeed, Talbot has declared it the most significant Vivaldi discovery in 75 years. And Professor Warren Bebbington, Dean of the Melbourne Faculty of Music, forecasts that "Vivaldi lovers the world over will be excited to hear this brilliant work, all thanks to Jan Stockigt's intrepid research."
The project that yielded Stockigt's find, funded by the Australian Research Council, aims to identify and analyse the repertory of the Catholic court church of the Saxon capital, Dresden, during the 18th century. In her research she examined countless dozens of surviving manuscripts.
The setting is the fourth newly identified Vivaldi sacred work to have turned up in the Dresden Library in the last 20 years, thanks mostly to the joint efforts of Stockigt and Talbot. In each case, the piece belonged to a large consignment of sacred vocal works supplied to the Saxon court during the 1750s by Venetian copyist Giuseppe Baldan, a notorious falsifier of attributions out of commercial convenience. Vivaldi being dead and forgotten for the last decade, Baldan could reap additional profits from the composer's works by recycling them far from their original performance site (Venice) under the name of the more contemporary and thus fashionable Galuppi, whose name is proudly inscribed on the title-pages. The contrivance led astray not only Baldan's patrons, but also modern librarians and scholars.
Plans are afoot for the Koernerscher Sing-Verein Dresden to give the complete "Dixit Dominus" its modern premiere in Dresden, as part the city's forthcoming 800th anniversary celebrations.
Copyright 2005, Commonwealth Business Media, Inc.
This report is reprinted with the kind permission of Musical America, the "Business Source for the Performing Arts." Musical America is located on the Internet at http://www.musicalamerica.com/.