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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.
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.
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
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
The college administration and President Denise Battles’ recent
decision to defund the Finger Lakes Opera came as a shock to many and a concern
to more. This decision reflects the administration’s blatant disregard
for the arts and reveals a mindset that is counterproductive to the mission of
Lucerne Festival announces its 2017 Summer Festival.
The GRAMMY Award-winning BEMF Chamber Opera Series returns with an all-new production inspired by the splendor and music of the palace of Versailles. King Louis XIV transformed his father’s pastoral hunting lodge at Versailles into a lavish palace that served as the seat of government and culture in France.
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.
Cambridge, MA–The Boston Early Music Festival (BEMF) is pleased to announce the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director.
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.
Victory Hall Opera is a new company making its debut in Charlottesville Virginia on August 14, 2016. Its first presentation will be Richard Strauss’s and Hugo von Hofmannsthal’s Der Rosenkavalier.
Lyric soprano Elizabeth Caballero’s signature role is Violetta in La traviata, which she portrays with a compelling interpretation, focused sound, and elegant coloratura that floats through the opera house as naturally as waves on the ocean.
Maria Nockin interviews baritone Brian Mulligan.
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.
Tickets on Sale NOW for June 10 & 12 Performances at UNLV’s Performing Arts Center Box Office
A Double-Bill of Divine Comedies
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.
Kathleen Kelly is an internationally renowned pianist, coach, conductor, and master teacher. She was the first woman and first American named Director of Musical Studies at the Vienna State Opera.
Atsuto Sawakami is a slightly built man in his late sixties with impeccable, gentlemanly manners. He communicates a certain restless energy and his piercingly bright eyes reveal an undimmed appetite for life.
22 Dec 2008
Bayerische Staatsoper Announces Program for 2009 Munich Opera Festival
The Bayerische Staatsoper announced its program of the 2009 Munich Opera Festival — the only festival of its kind in the world so rich in tradition, with roots reaching as far back as 1875.
The works of Giuseppe Verdi mark the beginning and end of the 2009
Festival: on June 30, the curtain in the National Theatre will rise on the
festival gala performance of Aida, a new production this
season, following the première on June 8. A performance of
Falstaff on July 31 will then conclude five weeks of festival
glory, which will again present audiences with a top-class programme of opera
and ballet performances, concerts and song recitals.
The main point of interest will be focused on the festival première of
Wagner’s opera Lohengrin in the National Theatre on July
5. For the tenth time, Kent Nagano will mount the podium of the Bavarian
State Orchestra to conduct a new production. The stage director is Richard
Jones, and an all-star cast headed by Jonas Kaufmann, Anja Harteros and
Michaela Schuster will be on stage.
Besides Aida with Barbara Frittoli in a production staged by
Christoph Nel and conducted by Daniele Gatti, the Festival will also offer an
opportunity for audiences to become reacquainted with all the other new
productions of this season:
Verdi’s dark-hued opera Macbeth (July 21/24), Andreas
Kriegenburg’s Wozzeck production (July 17),
enthusiastically acclaimed by press and public, the queen of bel canto, Edita
Gruberova in Donizetti’s Lucrezia Borgia (July 1/6),
Janáček’s Jenůfa (July 9) as a further work
of the theatre’s Slavic repertoire as well as a ballet world première
of this season: Jiří Kylián’s Zugvögel (July 3).
In addition, Mozart’s Idomeneo in the Cuvilliès
Theater (July 23/26/30) and the new production of Strauss’
Ariadne on Naxos (July 13/16/20), which was premièred to rave
reviews in the 2008 Festival, in the Prince Regent Theatre will both be
revived this year. Other major highlights include the appearance of star
soprano Angela Gheorghiu in a gala concert with the Bavarian State Orchestra
on July 27 as well as Rolando Villazón in the title role of Jules
Massenet’s Werther (July 4/7) together with Vesselina
Kasarova as Charlotte, as well as song recitals with Diana Damrau (July 5),
Waltraud Meier (July 20) and Jonas Kaufmann (July 26).
The 2009 Festival also has a special emphasis to offer. The “under
construction” program heralded by Nikolaus Bachler in his editorial,
has a number of surprises in the offing — among them a
“construction site” on Marstall Square and the festival première
of Leonard Bernstein’s one-acter Trouble in Tahiti on
July 7: Kent Nagano will lead the Mahler Chamber Orchestra in a new version
especially prepared for Munich at the Cuvilliès Theatre. Another featured
event at “under construction” will be the world première of
Narcissus and Echo by Californian composer Jay Schwartz. The
sounds of a counter tenor, a viola and percussion set will transform the
Allerheiligen Hofkirche (All Saint’s Court Church) into an echo space
to reflect identity, deception and recognition.
For the second successive Year, BMW Munich will be aboard as official
partner of the Munich Opera Festival — a relationship, which has its
foundation in the long-standing support of Opera for All. In
2009 as well, the Festival will offer free open-air events: on June 28 a
concert by the Bavarian State Orchestra under the direction of Kent Nagano on
Marstall Square, and on July 5, the performance of Lohengrin
will mark the first time in the over 10-year history of Opera for
All that audiences will have a chance to witness the live transmission
of a Festival première on Max Joseph Square.
Click here for additional information.