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.
Recently in Commentary
Elizabeth Llewellyn: Investec Opera Holland Park stages Puccini's La Rondine
It’s six or so years ago since soprano Elizabeth Llewellyn appeared as an exciting and highly acclaimed new voice on the UK operatic stage, with critics praising her ‘ravishing account’ (The Stage) of Mozart’s Countess in Investec Opera Holland Park’s 2011 Le nozze di Figaro in which ‘Porgi, amor’ was a ‘highlight of the evening’.
Dougie Boyd, Artistic Director of Garsington Opera: in conversation
One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas (Dougie) Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since 2012.
A Chat With Italian Conductor Riccardo Frizza
Riccardo Frizza is a young Italian conductor whose performances in Europe and the United States are getting rave reviews. He tells us of his love for the operas of Verdi, Bellini, and particularly Donizetti.
LA Opera’s Young Artist Program Celebrates Tenth Anniversary
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
When Performance Gets Political: A Brooklyn Concert Benefiting the ACLU
What’s an artist’s place in politics? That’s the question many were asking after actress Meryl Streep made a pointed speech criticizing President Trump at the Golden Globes. Trump responded directly to Streep, using his preferred communication medium of Twitter to call Streep “overrated.”
Bampton Classical Opera 2017
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The nature of narropera?
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Battles administration neglects FLO’s assets by defunding the program
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2017 Summer Festival at Lucerne
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BEMF Chamber Opera Series Presents Splendors of Versailles
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Center for Contemporary Opera presents Jane Eyre (World Premiere)
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.
Boston Early Music Festival announces the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director
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2016 Elizabeth Connell Prize Winner Announced
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.
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A Chat With Baritone Brian Mulligan
Maria Nockin interviews baritone Brian Mulligan.
An interview with Tobias Ringborg
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.
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Tickets on Sale NOW for June 10 & 12 Performances at UNLV’s Performing Arts Center Box Office
Bampton Classical Opera 2016
A Double-Bill of Divine Comedies
A Conversation with Sir Nicholas Jackson
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.
OPERA TODAY ARCHIVES »
Commentary
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