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
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A brand new opera — especially one that is groundbreaking— can really put an opera company on the map. British composer Barry Seaman’s stunning new work, Mirabai, which explores the story of the free thinking, mystic 16th century Hindu princess, Mira, is ambitious on many levels — artistically, technically and creatively.
Bampton Classical Opera Young Singers’ Competition 2015
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Reviewers wanted
A Chat with Anita Rachvelishvili
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On The Death of Klinghoffer
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.
Dolora Zajick about her Institute for Young Dramatic Voices
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Anna Prohaska, one of Europe’s most promising sopranos
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Garsington Opera’s 25th anniversary unites its past with its future
Garsington Opera celebrates its 25th anniversary this year.
Annapolis Opera’s 26th Annual Vocal Competitions
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.
Barbiere Comes to Sin City
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Claudio Abbado, Italian conductor, dies aged 80
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Matthew Polenzani — Des Grieux, Manon, Royal Opera House
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Season 2014 at San Diego Opera
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Royal Opera House Announces Digital Theatre
The Royal Opera House has its own DVD arm, Opus Arte, and is developing quite a global following with its cinema broadcasts.
Patricia Racette on Dolores Claiborne
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Tobias Picker Talks About His New Opera Dolores Claiborne
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.
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