Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Commentary

The Royal Opera House lets everyone in on the act

The Royal Opera House today opens the doors to its transformed new home, following an extensive three-year construction project.

Two of Garsington Opera's 2018 productions to reach a wider audience

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.

Remembering and Representing Dido, Queen of Carthage: an interview with Thomas Guthrie

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.

Bampton Classical Opera Goes to the Ball

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.

Glyndebourne announces new Artistic Director

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.

Beyond Gilbert and Sullivan: Edward Loder’s Raymond and Agnes and the Apotheosis of English Romantic Opera

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.

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

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.

The Moderate Soprano : Q&A with Nancy Carroll and Roger Allam

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 Wins the 2018 Beverly Sills Artist Award

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 Grand Tour: A European Journey in Song

The seventeenth Oxford Lieder Festival (12-27 October 2018) will celebrate a rich tapestry of music, words and performance in European song and will showcase the pinnacles of the repertoire while exploring wider cultural influences.

An Interview with Soprano Lisette Oropesa

Lisette Oropesa sings Eurydice in Los Angeles Opera’s French version of Gluck’s Orpheus and Eurydice that can currently be seen at the Dorothy Chandler Pavilion.

Opera in Amsterdam in 2018-2019

The operatic tradition is not as old in the Netherlands as in other European countries, yet opera is a vital part of the Dutch classical landscape. Both Dutch National Opera & Ballet and the Concertgebouw are in Amsterdam, so the capital gets the lion’s share of the opera on offer.

Lyric Opera of Chicago to Premiere Fellow Travelers—A Preview

On 17 March 2018 Lyric Opera of Chicago will premiere the 2016 opera Fellow Travelers by Gregory Spears (with a libretto by Greg Pierce, based on the novel by Thomas Mallon. Mallon’s 2007 novel offered fresh perspectives on the paranoiac investigations of McCarthy-era Washington, DC, through the lens of a gay relationship.

A newly discovered song by Alma Mahler

It is well known that in addition to the fourteen songs by Alma Mahler published in her lifetime, several dozen more - perhaps as many as one hundred - were written and have been lost or destroyed.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

The Schumanns at home: Temple Song 2018

Following their marriage, on 12th September 1840, Robert and Clara Schumann made their home in a first-floor apartment on the piano nobile of a classical-style residence now known as the Schumann House, on Inselstraße, just a short walk from the centre of Leipzig.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

OPERA TODAY ARCHIVES »

Commentary

Vivica Genaux (Photo by Harry Heleotis)
14 Sep 2008

Vivica Genaux Focuses on Baroque Repertoire in 2008-09 Season

The 2008-09 season of radiant mezzo-soprano Vivica Genaux promises to add further luster to her credentials as one of the world’s leading interpreters of music of the Baroque and bel canto periods.

Vivica Genaux Focuses on Baroque Repertoire in 2008-09 Season

Above: Vivica Genaux (Photo by Harry Heleotis)

 

At all the major music capitals, she is consistently praised not only for the technical command and beauty of her distinctive voice, but also for her compelling stage portrayals.

Ms. Genaux balances her appearances worldwide with operatic engagements, concerts and recitals in new venues and countries, as well as returns to sites of previous audience and critical triumphs. This season she adds four additional roles to her pantheon of characters, one each by Vivaldi, Handel, Hasse and Haydn. She ventures into recording studios twice for Virgin Classics, first for a new solo-CD and then to complete a recording, begun in July of 2008, as Antiope in Vivaldi’s Ercole, which she subsequently performs in the theater for the first time. Her stage personæ now total forty, twenty-five of which are trouser-parts.

The 2008-09 season commences with one of three New York area performances, the first at Tannery Pond Concerts in the Berkshires, in a recital paired with longtime confrere Craig Rutenberg (August 30). Their program comprises works of Haydn, Loewe, Garcia/Viardot, Rossini, Serrano, Chueca/Valverde and Giménez. This is followed by a debut at the Festival de Fénétrange for a bill consisting of arias by Handel & Hasse with Concerto Köln (September 5). For her initial engagement at Vienna’s Theater an der Wien, Ms. Genaux switches male attire and roles from her more usual eponymous hero to the villain, Polinesso, in Ariodante, with Christophe Rousset and Les Talens Lyriques (September 16, 18, 20, 22, 24 & 26). Her colleagues include Danielle de Niese (Ginevra), Maria Grazia Schiavo (Dalinda), Angelika Kirchschlager (Ariodante), Topi Lehtipuu (Lurcanio), Martin Mairinger (Odoardo) and Luca Pisaroni (Il Re) in this Lukas Hemleb production. Ms. Genaux participated at its 2007 premiere at the Théâtre des Champs-Élysées. In a return to Madrid’s Teatro Real, where she has previously been seen and heard in Ariodante and Bajazet, she takes great “pleasure” in going “allegorical” as Il Piacere in a staged version of the Handel oratorio Il Trionfo del Tempo e del Disinganno (November 2, 4, 6, 9, 11, 14 & 16) conducted by Paul McCreesh, their premier collaboration. The cast in this Jürgen Flimm-directed production also consists of Isabel Rey (La Bellezza), Marijana Mijanovic (Il Disinganno) and Steve Davislim (Il Tempo). Another role and festival debut await at the Ludwigsburger Schlossfestspiele in a Hasse rarity, as Salome in Sanctus Petrus et Sancta Maria Magdalena, coupled with the composer’s Miserere in D minor, with Michael Hofstetter at the helm. Ms. Genaux is joined by Kirsten Blaise, Heidrun Kordes, Jacek Laszczkowski and Terry Wey (November 23). The mezzo and Concerto Köln, an ensemble with which she often makes music, offer concerts in early-December in Cologne (3), Lyon (5) and Saarbrücken (12), after which she embarks on another recording project, for Virgin Classics, her seventh for the label.

As 2009 begins, Ms. Genaux, assuming the role of the proud and fierce Amazon Queen, Antiope, completes a Virgin Classics recording of Vivaldi’s Ercole sul Termodonte, the sixteenth of the composer’s forty-eight stage works, at studios in Florence with a starry cast which includes: Diana Damrau, Patrizia Ciofi, Joyce DiDonato, David Daniels, Philippe Jaroussky, Rolando Villazón and Topi Lehtipuu, with Fabio Biondi/Europa Galante. Back in the United States she concertizes with Andrea Marcon and members of the Venice Baroque Orchestra on January 14 at Carnegie Hall’s Weill Recital Hall. In late-January she sings Ercole for the first time on stage at Vienna’s Konzerthaus (25) and then at Paris’ Théâtre des Champs-Élysées (27) with the team of Biondi/Europa Galante, where her co-stars are Roberta Invernizzi (Ippolita), Emanuela Galli (Orizia), Stefanie Irányi (Martesia), Romina Basso (Teseo), Philippe Jaroussky (Alceste), Carlo Allemano (Ercole) & Filippo Adami (Telamone). In one of her calling-card roles, she plays the practical and quick-thinking Isabella in L’italiana in Algeri at Torino’s Teatro Regio (a Company debut) on March 4, 6, 8m, 11 & 15m, where her colleagues include Antonio Siragusa as her rediscovered love, Lindoro; Roberto di Candia as her would-be suitor, Taddeo; and Lorenzo Regazzo as the befuddled Bey of Algiers, Mustafà. The displays of vocal virtuosity and madcap antics are led from the pit by Bruno Campanella. For her initial engagement in Russia, at Moscow’s Tchaikovsky Concert Hall (April 8), she teams up with frequent recital partner Carlos de Aragon, here conducting the Musica Viva Orchestra, in a mixed-repertoire program. In her one-time hometown, at the Pittsburgh Opera, she once again dons Isabella’s traveling gear and shows the residents of Algiers what it means to tangle with an Italian Girl. Here her fun-loving colleagues are William Burden (Lindoro), Earle Patriarco (Taddeo) and Paolo Pecchioli (Mustafà), conducted by the company’s Music Director, Antony Walker (May 2, 5, 8 & 10m). Rejoining Concerto Köln, she intones her first notes in Brazil and Argentina with concert dates in São Paulo (May 26 & 27) and Buenos Aires (June 1 & 2). One more Festival debut awaits her in France, in St. Denis, with a Marian-themed program featuring Pergolesi’s Stabat Mater and Handel’s Il pianto di Maria, in which she is paired once more with Maestro Rousset and Les Talens Lyriques (June 23). For her first foray with the music of Haydn, Ms. Genaux assumes the part of the aptly-named Costanza in a semi-staged run of L’isola disabitata, a tale of shipwrecked romance and mistaken identity. For Ms. Genaux, this represents a new role and orchestra collaboration with Jonathan Nott and the Bamberger Symphoniker (July 8, 9, 11 & 12). Her season comes to a close at New York’s Caramoor Festival where she portrays the avenging warrior-prince, Arsace, in Rossini’s Semiramide, here sharing the stage with another fellow bel canto specialist, tenor Lawrence Brownlee, among others (August 1). In this, her ninth engagement there (following on the heels of La Cenerentola, La donna del lago, Lucrezia Borgia, La gazza ladra, as well as two recitals and two concerts), she is reunited with Will Crutchfield, who has been a major force in her career from the beginning.

For further information, please access Ms. Genaux’s websites at: www.vivicagenaux.com and www.fanfaire.com/genaux

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):