Recently in Commentary
Bampton Classical Opera has announced that applications are now open for the
company’s Young Singers’ Competition 2015. This biennial competition was
first launched in 2013 to celebrate Bampton Classical Opera’s 20th
birthday, and is aimed at identifying the finest emerging young opera singers
currently working in the UK.
Anita Rachvelishvili recently performed the title role in Carmen broadcast by The Metropolitan Opera Live in HD. Here she drops by for a little chat with our Maria Nockin.
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.
"Although there are now more people on this planet than there have ever been before, there are fewer dramatic voices. Something is wrong with that equation. I thought there needs to be some sort of helping hand so that dramatic voices don’t fall through the cracks in the system as they advance through their various stages of development."
Anna Prohaska sings Sister Constance in Poulenc’s Dialogues des
Carmélites at the Royal Opera House. In the same month, she’s also in
London to sing a recital with Eric Schneider at the Wigmore Hall, and to sing
Henze with Sir Simon Rattle at the Barbican Hall.
Garsington Opera celebrates its 25th anniversary this year.
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.
Professional opera returns to the Las Vegas Valley June 6th and 8th with performances of one of the best-known comic operas of all time, Gioachino Rossini's Il Barbiere di Siviglia.
I met with the embattled artistic director of the Opéra et Orchestre National de Montepellier not to talk about his battles. I simply wanted to know the man who had cast and staged a truly extraordinary Mozart/DaPonte trilogy.
Maria Nockin interviews tenor Saimir Pirgu.
Italian conductor Claudio Abbado, former principal conductor of the London Symphony Orchestra, has died aged 80
Matthew Polenzani reprises the role of the Chevalier des Grieux in Jules Massenet’s Manon at the Royal Opera House. “I love coming back to London”, he says, “It’s a very good house and they take care of you as a singer. And the level of music making is unbelievably high”.
On Saturday evening January 25, San Diego Opera opens its 2014 season with Ruggero Leoncavallo’s verismo blockbuster Pagliacci (Clowns).
The Flying Dutchman is a transitional piece because Wagner was only beginning to establish his style. He took some aspects from Carl Maria von Weber and others from Italian composers like Vincenzo Bellini.
The Royal Opera House has its own DVD arm, Opus Arte, and is developing quite a global
following with its cinema broadcasts.
On a personal level, I feel that Dolores is almost like Emmeline grown up. Their circumstances are not exactly parallel, but they are both women at very different points in their lives whose stories involve dilemmas with life-changing outcomes.
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.
On September 18, 2013, San Francisco Opera will present the world premiere of Tobias Picker’s opera, Dolores Claiborne, which has a libretto by J. D. McClatchy based on Stephen King’s novel of the same name.
31 Jan 2012
Vienna State Opera Keeps It’s Team
Jan. 31, 2012. The recent announcement of the extension of the contract for
Dominique Meyer, the General Director of the Vienna State Opera was a firm
endorsement of his leadership by the Austrian government. Meyer, 57, the first
French person to hold the office, will continue now through August 31, 2020.
Meyer, born in the Alsace region of France, where German is a common second
language, has worked in arts administration in France, including a period with
the Opéra de Paris, and was the respected director of the Théâtre des
Champs-Élysées in Paris at the time he was given the job of Vienna’s
“designated director” in June 2007. Only midway through his second
season, his careful expansion of the opera’s repertory while giving
attention to the conservative public has won him wide support.
Meyer’s hiring of Austrian-born Franz Welser-Möst, 51, as the General
Music Director has also been a hit with audiences and critics. One of the top
conductors of today, his music leadership has also been extended. Welser-Möst’s
contract will now expire in 2018 but there is an option to renew until 2020.
His current contract with the Cleveland Orchestra will draw to an end in 2018
“Vienna has grown on me,” Meyer’s commented. “I have
an excellent music director at my side, a wonderful team and I feel a lot of
support from the audience. There is no better job in my profession than to lead
the Vienna State Opera.”