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Anita Rachvelishvili recently performed the title role in Carmen broadcast by The Metropolitan Opera Live in HD. Here she drops by for a little chat with our Maria Nockin.
This is a revised version of my review of the Sept 5th
1991American premiere of The Death of Klinghoffer, at the
Brooklyn Academy of Music. The opera was first performed at Brussels’ La
Monnaie the previous spring.
"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?
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.
Click here for remainder of article.
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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