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In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
The college administration and President Denise Battles’ recent
decision to defund the Finger Lakes Opera came as a shock to many and a concern
to more. This decision reflects the administration’s blatant disregard
for the arts and reveals a mindset that is counterproductive to the mission of
Lucerne Festival announces its 2017 Summer Festival.
The GRAMMY Award-winning BEMF Chamber Opera Series returns with an all-new production inspired by the splendor and music of the palace of Versailles. King Louis XIV transformed his father’s pastoral hunting lodge at Versailles into a lavish palace that served as the seat of government and culture in France.
Louis Karchin’s Jane Eyre, a full-length opera in three acts with a libretto by Diane Osen based on Charlotte Bronte’s novel, will receive its world premiere at The Kaye Playhouse (Hunter College) on Thursday, October 20, 7:30pm with a second performance on Saturday, October 22, 8pm. Jane Eyre is Karchin’s second opera, composed in 2014, following his critically acclaimed one-act comic opera Romulus.
Cambridge, MA–The Boston Early Music Festival (BEMF) is pleased to announce the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director.
Kseniia Muslanova from the Russian Federation has won the 3rd annual Elizabeth Connell Prize for aspiring dramatic sopranos held at the Sydney Conservatorium of Music in Sydney Australia on 3 September 2016.
Victory Hall Opera is a new company making its debut in Charlottesville Virginia on August 14, 2016. Its first presentation will be Richard Strauss’s and Hugo von Hofmannsthal’s Der Rosenkavalier.
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.
10 Feb 2006
According to Charles K. Moss, "Robert Schumann was one of the driving forces of the young Romantic movement in Germany. And like many in his generation, Schumann did not seem destined to become a composer, let alone one who would be so influential in the development of a new style. But music became all-important to Schumann, and he displayed multiple talents as a performer, composer, and literary exponent of Romanticism, championing new composers and their works and influencing the musical tastes of a generation." This year marks the 150th anniversary of Schumann's death.
Smitten with Schumann
[The Guardian, 10 February 2006]
Julius Drake first discovered the German composer at age 12. It was the start of an obsession that opened up a whole new world for the pianist
The music of Robert Schumann is very close to my heart. Playing his piano parts I often feel as though I'm improvising them - inventing the music as I go along. I'm sure thousands of others do too: this is the astonishing power of the music. It's as vivid, fresh and vital now as when he wrote it, more than 150 years ago. But then that's a pretty good definition of all great art - it doesn't age. Even so, with Schumann it's the improvisatory quality of the music that is so inspiring. He was, more than anything else, an improviser, and the piano was his instrument.
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There's madness in his music
By Neil Fisher [Times Online, 10 February 2006]
It's Schumann's anniversary this year, too. Our correspondent profiles the sensitive composer who died destitute in a lunatic asylum
In their anniversary years we idolise Mozart for his fluency; we struggle with Shostakovich for his tussles with Stalin. But how best to mark 150 years since the death of Robert Schumann? Delve into the tragic demise of Schumann, at the age of 46, and you hit the blank, unromantic wall of mental illness: the composer died of self-starvation after two years in a German mental asylum.
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