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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.
‘Lieder v. Opera’? At first glance it might seem to be a pointless or nonsensical question.
Extreme Dolly Parton fans may sound like unlikely subjects for an opera, but they are the major characters in Heartbreak Express, a collaboration of composer George Lam and librettist John Clum.
Last year's Oxford Lieder Festival made something of a splash when it encompassed all of Schubert's songs, performed in the space of three weeks. This year's festival, the 14th, which runs from 16 to 31 October 2015 has a rather different, yet still eye-catching theme; Singing Words: Poets and their Songs.
The First of Three Donizetti Queens She Will Sing at the Met This Season
For a company founded in 2013, Odyssey Opera has an astounding track record. To take on Korngold’s Die tote Stadt is ambitious enough, but to do so within only a year of the company’s founding seems almost single-minded.
The name of Hibla Gerzmava has been famous in the opera world since 1994,
when at age 24 the Abkhazian-Russian soprano won the Grand Prix at Tchaikovsky
International Competition, entering its history as the first and only vocalist
to have been awarded the highest prize.
03 Nov 2010
Overture to London’s Handel Festival 2011
The small but perfectly formed Grosvenor Chapel in London’s exclusive Mayfair was the venue last Monday night for a programme of Handel vocal and instrumental music of considerable quality — if minimal quantity.
hour-long concert, catchily entitled “Castrati to Countertenors”,
preceded the now-annual benefit Dinner which helps fund the following
year’s London Handel Festival. As hors d’oeuvres, it must have been
ideal — piquant orchestral playing combined with some fuller vocal
flavours courtesy of the excellent London Handel Players (is there a finer
small baroque band in this city?) and young countertenor Christopher Lowrey who
deservedly won the Festival’s Michael Oliver Prize in 2010.
The programme consisted of the overtures to and well-known airs and arias
from Saul and Rodelinda: “O Lord, whose mercies
numberless”, “Impious wretch”, “Dove Sei, amato
bene”, and “Vivi, tiranno!”, together with a scintillating
performance of the meatier Concerto Grosso, Op. 3 No. 5 in D Minor (HWV 316),
which showed off this small band’s command of colour, dynamic and
pinpoint accents. The Players were led with real joie de vivre and musicality
by their Musical Director Laurence Cummings from the harpsichord/keyboard.
Young Lowrey, we were warned, was suffering from a chest infection but there
was little sign of this (apart perhaps from some short-breathed lines and
restrained ornamentation) in his performance as he offered some real drama
combined with concise, accurate coloratura. He seemed most at home with the
material from Rodelinda and this confirmed the promise he showed in
2009 at the Festival/Britten International Opera School production of
Alessandro. He is an undoubted talent in the ever-increasing pool of excellent
young countertenors graduating now.
The concert series continues this Autumn with the traditional Christmas-time
Messiah on the 2nd December at St. George’s Hanover Square and
in 2011 we can look forward to performances of Rodelinda (fully
staged), Saul, the St Matthew Passion, Comus, the
Magnificat and many other concerts and recitals — not forgetting
the increasingly important Singing Competition Final in April. Full details can
be found at the LHF’s web site.
Sue Loder © 2010