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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.
American tenor René Barbera is fast making a name for himself as one of the
top bel canto singers in opera houses around the world.
(Boston, MA) — Odyssey Opera, a Boston-based opera company dedicated to exploring the full spectrum of adventurous repertoire, presents the Boston premiere of one of France’s great operas, Le Cid (1885), composed by Jules Massenet (1842–1912).
I’m interviewing Stefano Mastrangelo in the immediate aftermath of his conducting La Traviata for the Chofu City Opera in Tokyo on 22 November 2014; he conveys an air at once of tiredness and exhilaration.
Apotheosis Opera is proud to announce their inaugural production
will be a fully-staged English translation of Richard Wagner’s early
masterpiece TANNHÄUSER on Friday, July 31, 2015, at 7pm and Sunday,
August 2, 2015, at 3pm at the theatre of El Museo del Barrio (1230 5th Avenue)
‘Competitions are for horses, not artists.’ The words of Béla Bartók seemed apposite on Sunday night at the Royal Opera House, as 11 soloists walked swiftly onto the Covent Garden stage, performed their chosen aria, briefly acknowledged the applause and then returned summarily to the wings.
Twin sisters – one pensive, the other gregarious – are soon to wed their beau, whose contrasting characters – one earnestly introverted,
the other a boisterous hedonist – perfectly match their respective betrotheds’.
30 May 2012
Thunder Storm at the Theater an der Wien
Conflicts like this usually remain inside opera house walls. The three Viennese daily newspapers carried headlines reporting that Oscar-winning director William Friedkin called the intendant of the Theater an der Wien a “liar.”
He was reacting to comments of Roland Geyer, chief of Vienna’s second opera, who, in July, is returning the Friedkin production of Jacques Offenbach’s Les contes d’Hoffmann to his Theater an der Wien for a second run. Geyer maintained that this revival, with important changes, was known to Friedkin. Geyer also explained that these modifications to the production made him the new stage director.
Geyer explained last week that he had added some material and made some cuts to the opera resulting in a new staging shorter by “almost half an hour.” Friedkin suggested that this was like a “dog peeing on a tree” and claiming ownership. He also asserts that he was never told of the Theater’s dissatisfaction with the March production and had intended to return to Vienna to direct a new cast.
The performing version used at the Theater an der Wien was based on the recent integral edition of the opera, considered by many to be definitive, edited by Michael Kaye and Jean-Christophe Keck. Kaye supported Friedkin’s work in this production. This edition, including material the composer was working on when he died, ran three and a half hours (with one intermission) in March.