Recently in Commentary
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.
‘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.
03 Oct 2011
The Inaugural Cambridge Handel Festival: a rosy dawn?
The haughty beauties that are the ancient colleges of Cambridge were definitely feeling the heat this past weekend, and not even the cooling streams of the Cam and its tributaries could assuage the heat of an Indian summer in the Fens of Eastern England.
Luckily, there was an alternative to the
sweltering pavements and swirling crowds of Freshers Week: the inaugural
Cambridge Handel Festival announced its arrival on the period music scene with
a weekend of the coolest venues and the most exciting music-making. There is
already a well-established Handel “hard core” living in and around
the city — the Cambridge Handel Opera Group is well regarded — but
it was something of an act of faith on the part of the organisers (Cambridge
Early Music) to devote an entire weekend to all things Handelian. It was only
towards the end of the two days, after a scintillating final concert of the
Violin Sonatas by Adrian Butterfield, that it became obvious that the Festival
had not only been an artistic success but had also, most importantly, just
about broken-even financially. In this age of straitened budgets, this is no
London Handel Players [Photo courtesy of NCEM]
The Festival was an innovative mix of events: a guided walk, talks by Handel
experts, specific church services with a Handelian slant, an organ recital by
the hugely talented Mark Williams in the chastely-elegant confines of
Wren’s Pembroke College Chapel, and both instrumental and vocal concerts
which delighted both enthusiasts and casual ticket-buyers alike. The backbone
of the Festival was, one would have to say, Laurence Cummings and his London
Handel Players who featured not only the deeply satisfying playing of both
Adrian Butterfield (violin) and Rachel Brown (flute/recorder) but also
accompanied the evergreen Emma Kirkby with great finesse and sympathetic
musicianship. This latter concert highlighted arias written for soprano Cecilia
Young (later Mrs Arne) by her husband, Lampe and Handel himself and we were
treated to some songs rarely heard before: “Pretty Warblers” and
“By the rushy-fringed bank” were delightful curiosities,
Speaking with various other visitors to this Festival it was obvious that
the variety of events had been a success, as had been the many interesting and
unusual venues. There was a well-produced and informative programme book which
both enlightened the newcomer but also informed the confirmed Handelian —
for instance, the Fitzwilliam Museum in the heart of the city keeps some
manuscript music by the great man which was put on show (with explanatory
notes) especially to coincide with the weekend’s events. One can only
hope that this most lovely of cities will once again feature the works of
Handel and his contemporaries in another such festival: the foundations have
certainly been well-laid.