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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.
19 May 2015
Jonathan Dove’s Flight, Opera Holland Park
On 6 June, Jonathan Dove’s Flight touches down in Kensington,
west London. Opera Holland Park is to stage the first London production of
Dove’s operatic presentation of the real-life story of Mehran Karimi Nasseri,
the Iranian exile who, lacking residency rights or refugee status, was forced
to live in the departure lounge of Terminal One at Charles de Gaulle Airport
for 18 years.
Commissioned by Glyndebourne Opera and premiered in September 1998 by
Glyndebourne Touring Opera, Richard Jones’ original production of Flight
was subsequently staged twice in the main house, in 1999 and 2005. The
opera was televised by Channel 4 in 1999, and there have since been more than
80 productions across Europe and in the US. The critical response has been
Flight is a rarity in more ways than one. Modern-day operatic
comedies are few and far between, and there can’t be many new comic operas
that have received such universal acclaim since the days of Rossini and
Donizetti. Moreover, how many operas are there set in an airport lounge or
which feature on-stage childbirth? Yet, airports are places of transit through
which pass representatives of all walks of life and in which relationships
develop and unravel, and the libretto, by British playwright April de Angelis,
presents an ensemble cast of 10 which serves as a microcosm of the human
Glyndebourne’s General Director, Anthony Whitworth-Jones, wondered when
commissioning the work whether Dove could create ‘A Marriage of
Figaro for the 1990s’. Flight certainly shares
Figaro’s integration of the serious and the comic. While there is
much to raise a belly laugh, the Refugee’s own narrative is profoundly
moving, his ‘imprisonment’ poignantly juxtaposed with the freedom of those
inside the aircraft which we see take off, his life ‘on pause’ while those
around him quite literally move forward.
Dove’s score is eclectic: by turns extravagantly ‘Romantic’ and
restrictively ‘minimalist’, one can detect echoes from Shostakovich to
Britten (not least in the word setting) to Sondheim.
Funny yet provocative, topical but also indebted to the past, Flight
has become one of the most popular and oft-performed British operas of
recent decades. As Fiona Maddocks, writing in the Observer commented:
‘One reason Jonathan Dove’s Flight was such a triumph at
Glyndebourne is that he understands the marriage of theatre and music. He knows
how to rouse passions and raise smiles. Tunes flow in abundance, and for him,
creating a mood, capturing a feeling for an instant, are second nature.’
Flight will be performed at Opera Holland Park on June 6, 10, 12,
17, 19 at 7.30pm. Tickets for those under 30 years-of-age cost just £20.
here for an exclusive interview with Jonathan Dove .