
16 Aug 2007
The Week that Was for Opera: Santa Fe — Dallas — Denver/St Louis — Toronto
The week just ended was certainly of historic moment in the world of North American opera companies.
To celebrate the bicentenary of Queen Victoria and Prince Albert’s births in 2019, Independent Opera (IO) and Britten Sinfonia present the first public performance of Joby Talbot’s new cantata A Sheen of Dew on Flowers on Thursday 11 April at the Barbican.
Following its sell-out success at Wilton’s Music Hall in September 2018, English National Opera’s acclaimed production of Benjamin Britten’s Paul Bunyan will be revived in May at the equally historically remarkable venue of Alexandra Palace Theatre.
Unveiled in 1994, the new auditorium increased capacity by 50% to 1,200 seats and significantly improved backstage facilities. This allowed more people to enjoy world-class opera at Glyndebourne and enabled the company to stage bigger and more ambitious productions in the years that followed.
Garsington Opera’s 30th anniversary season will feature four new productions - the UK stage premiere of Offenbach’s Fantasio, Smetana’s The Bartered Bride, Mozart’s Don Giovanni and finally Britten’s The Turn of the Screw.
A patron of the International Opera Awards since their inception, legendary tenor Plácido Domingo will receive the first ever Honorary Fellowship of the Opera Awards Foundation at a fundraising evening on Monday 28 January at the Royal Society of Arts, London.
The Board of Wexford Festival Opera has announced Rosetta Cucchi as the new Artistic Director of the Festival. She will take up the six-year position when the current Artistic Director David Agler finishes his tenure after the 2019 Festival.
It sounds like a question from a BBC Radio 4 quiz show: what links Handel’s cantata for solo contralto, La Lucrezia, Samuel Beckett’s Krapp’s Last Tape, and the post-punk band Joy Division?
Gian Carlo Menotti’s much-loved Christmas opera, Amahl and the Night Visitors was commissioned in America by the National Broadcasting Company and was broadcast in 1951 - the first-ever opera composed specifically for television. Menotti said that it “is an opera for children because it tries to recapture my own childhood”.
November 5, 2018, Los Angeles, CA: Today, King’s College Cambridge announces the launch of the College as a curator on Apple Music.
Sir Antonio Pappano, Music Director of the Royal Opera House, has confirmed that he will remain in position until at least the end of the 2022/23 Season.
The GRAMMY-Winning Boston Early Music Festival Chamber Opera Series presents Francesca Caccini’s Alcina on Thanksgiving weekend – November 24 & 25 in Boston and November 26 & 27 in New York City
The Royal Opera House today opens the doors to its transformed new home, following an extensive three-year construction project.
Garsington Opera is delighted to announce that on Saturday 6 October, BBC Radio 3’s ‘Opera on 3’, will broadcast the production of its first festival world premiere - The Skating Rink by David Sawer set to a libretto by Rory Mullarkey based on a novel by Chilean author Roberto Bolaño.
The first two instalments of the Academy of Ancient Music’s ‘Purcell trilogy’ at the Barbican Hall have posed plentiful questions - creative, cultural and political.
I wonder if Cinderella realised that when she found her Prince she would also find international fame, becoming not just a Princess but also a global celebrity and icon. The glass slipper, placed loving on her shapely foot, has graced theatres, variety halls, cinema screens and opera houses - even postage stamps - and the perennial popularity of this rags-to-riches fairy-tale, in which innocence and goodness triumph over injustice and oppression, shows no signs of waning.
Stephen Langridge has been appointed Artistic Director of Glyndebourne. Stephen is currently Director for Opera and Drama at Gothenburg Opera, Sweden, a role he has occupied for five years. He will take up his new role at Glyndebourne in spring 2019.
Mention ‘nineteenth-century English opera’ to most people, and they will immediately think ‘Gilbert and Sullivan’. If they really know their Gilbert and Sullivan, they’ll probably remember that Sullivan always wanted to compose more serious operas, but that Gilbert resisted this, believing they should ‘stick to their last’: light, comic, tuneful satire.
Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.
Nancy Carroll and Roger Allam play Audrey Mildmay and John Christie in David Hare’s play The Moderate Soprano which is currently at the Duke of York’s Theatre in London.
Soprano Nadine Sierra has been named the winner of the 13 th annual Beverly Sills Artist Award for young singers at the Metropolitan Opera.
The week just ended was certainly of historic moment in the world of North American opera companies.
The sudden and sad death of Richard Bradshaw, 63, the English-born head of Canadian Opera, Toronto, who served that company for thirty years and died at Pearson Airport last evening (August 15) while returning from holiday in the Maritimes, is the capstone to an unusual series of events over recent days.
On August 8 announcements came from Santa Fe that Richard Gaddes, long associated with that opera company, and its head since 2001 would leave at the end of the 2008 season, a surprise to many. At the same time Dallas Opera was announcing the departure next month of Karen Stone, their general director for the past four years.
Today, August 16, Opera Colorado at Denver announced the departure of its two top executives, Peter Russell, General Director, who is leaving in two weeks, and James Robinson, Artistic Director, who departs in 2008. It is expected that Robinson will assume the position of artistic head at Opera Theatre of St Louis, vacant since the death of Colin Graham last May. Four top executives and one top artistic administrator in the relatively small world of opera, all named for change within one week. The mind reels! Bradshaw’s position at Toronto was especially imposing, as for 30-years he had labored to build Canadian Opera and had succeeded, not only in developing the Company’s scope and quality, but he last year completed the building of a new opera center, and conducted therein Toronto’s first Wagnerian Ring Cycle. Bradshaw’s historic accomplishments will long be remembered in Toronto.
Santa Fe Opera developed under the direction of its founding manager, John O. Crosby, who was succeeded by Gaddes in 2001. Gaddes previously held other positions at Santa Fe and for ten years was General Director of the opera company in St Louis of which he was a founder. Russell and Stone had briefer tenures with their companies and made lesser records. The new Ellie Caulkins opera house in downtown Denver opened during Russell’s years and was favorably received. In an unusual move, Mrs. Susan Morris, President of the Board of Santa Fe Opera announced in a press release that she would be pleased to receive confidential letters addressed to her at SFO’s New York office, with any comments or suggestions concerning new management at her opera company.
J. A. Van Sant © 2007