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Welsh National Opera explores Madness for autumn season

Madness descends upon Welsh National Opera for its autumn 2015 season, with three new productions that will explore human turmoil through some of the finest musical expressions of madness and the human condition.

The season launches WNO’s 70th birthday year which will see the company stage seven new productions over the course of the year — including two world premières — and a classic revival.

[More . . . . ]

New Releases from Opera Rara

This month, Opera Rara embark on back-to-back recording projects — Donizetti’s Le duc d’Albe and Gounod’s La Colombe — with their Artistic Director Sir Mark Elder conducting the Hallé. Following last year’s release of Donizetti’s Rita which marked the company’s 50th complete opera recording to date, this is Opera Rara’s second collaboration with the Hallé. La Colombe will be released in November while Le duc d’Albe will be available next spring.

Click here for more information.

A Time-Out With Isabel Leonard: In 'L'Heure Espagnole' at San Francisco Symphony

By Sean Martinfield [Huffington Post, 2 June 2015]

Mezzo-soprano Isabel Leonard appears with conductor Charles Dutoit and the San Francisco Symphony this week in Ravel's one-act comic opera, L'Heure espagnole. (The Spanish Hour). The program opens with Ravel's brief "morning song," Alborado del gracioso and concludes with Manuel de Falla's Nights in the Gardens of Spain featuring pianist Javier Perianes. The opera (not quite an hour) also features tenors Jean Paul Fouchécourt and John Mark Ainsley, along with baritones Jean-Luc Ballestra and David Wilson-Johnson. Isabel sings the role of Concepion, a clockmaker's wife with way-too-much time on her hands. And with three potential lovers in the shop - two of them hidden in tall standing clocks - each counting the minutes until her buffoon of a husband returns, Isabel says, "She's hysterical! A woman on the edge of a nervous breakdown."

[More . . . . ]

On Site Opera Presents 'Barber of Seville' at Fabbri Mansion on New York’s Upper East Side

By K. Young [Classicalite, 31 May 2015]

This summer, On Site Opera (OSO) will present a new production that personifies the company's mission to produce operas in non-traditional locations ideally suited to the stories they tell. This June (9-13), OSO will stage a site-specific production of The Barber of Seville at the opulent Fabbri Mansion (House of the Redeemer) on New York City's Upper East Side.

[More . . . . ]

Il Trittico: Puccini's most underrated opera

By Rupert Christiansen [The Telegraph, 29 May 2015]

La Bohème, Tosca, Madama Butterfly - and oh yes, “the one with ‘Nessun dorma’ in it”, Turandot - make Puccini the world’s most popular opera composer, and one who earns ever more admiration as a musical dramatist and expressive melodist. Is there still some residual snobbery about his genius? Thirty years ago, I remember being shocked to hear William Walton confess in a television interview that in old age, he had come to love Puccini’s music even more than Verdi’s. Now I begin to sympathise.

[More .. . . . ]

Bizet's Carmen | English National Opera

Metropolitan Opera Stars Join Opera Las Vegas in Puccini’s Madama Butterfly

Four stars of the Metropolitan Opera will headline the Opera Las Vegas fully-staged, live orchestra production of Puccini’s tragic love story Madama Butterfly at Judy Bayley Theatre on the UNLV campus on June 12th and 14th.

Click here for additional information.

Lowering the tone

By Laura Battle [FT, 8 May 2015]

Given the enormous enthusiasm for countertenors and, increasingly, male sopranos that has flourished in recent decades, it is surprising how little attention has been paid to the female vocal range. Of course, the trend has been largely dictated by the range of available repertoire. Opera companies and period ensembles, keen to emulate the sound of 17th- and 18th-century castrati, are now spoilt for choice of high male voices. Over the same period of time, true contraltos, considered by many to mark the lower limits of the female vocal range, appear to have all but disappeared.

[More . . . . ]

Celebrating Bidú Sayão's Birthday (11 May 1902)

The Rake’s Progress, Metropolitan Opera, New York

By Martin Bernheimer [FT, 4 May 2015]

The Met season is gasping to a close, but the final major gasp — a revival of The Rake’s Progress — offers some degree of exhilaration.

Only “some degree”? Blame the qualification on the size of the house. Stravinsky’s quixotic faux-baroque masterpiece had its premiere, back in 1951, at La Fenice in Venice (with none less than Elisabeth Schwarzkopf heading the cast). At the time, the capacity of that theatre was 840. The all-too-mighty Met accommodates 4,000. Enough said, and, alas, enough badly heard.

[More . . . . ]

Three Tales, Imax Cinema, Science Museum, London

By David Cheal [FT, 24 April 2015]

Steve Reich and Beryl Korot tackle hubris with 2002 ‘video opera’ about science and technology

[More . . . . ]

Die beste hochdramatische Sopranistin der Gegenwart

By Manuel Brug [Die Welt]

Sie entäußert sich auf der Bühne, gibt perfekt eine vollkommen gestörte Frau, die moderne Mörderin: Die Schwedin Nina Stemme ist die ideale Heroine. Zu Hause mag sie das komplette Gegenteil.

[More . . . . ]

“Tarquin” an der Berliner Staatsoper: Vom Werden eines Diktators

By Benedikt von Bernstorff [Der Tagesspiegel]

Ernst Krenek hat seine Kammeroper „Tarquin“ 1940 im US-Exil geschrieben, nach der Uraufführung 1950 präsentiert die Werkstatt der Staatsoper im Schillertheater erst die dritte Produktion des Werks. Dabei beweist Krenek, dass sich mit der Zwölftontechnik der Schönberg-Schule effektvolles Musiktheater schreiben lässt. Die Partitur ist für zwei Klaviere, Geige, Klarinette, Trompete und Schlagzeug instrumentiert, die musikalische Dramaturgie suggestiv, tonale Anklänge und ein leitmotivisch eingesetztes Thema mit Sehnsuchtsintervall und Rosenkavalier-Appeal erleichtern den Zugang.

[More . . . . ]

Moses und Aron, Komische Oper Berlin

By Shirley Apthorp [FT, 21 April 2015]

Holocaust references are a delicate matter on any stage, but a defensible choice in a production of Arnold Schoenberg’s monolithic Moses und Aron. Here, the mountain that Moses descends is a vast pile of Jewish corpses.

[More . . . . ]


NEWS ARCHIVES »

PRIVACY POLICY

PRIVACY POLICY

Opera Today, Inc. cares about your privacy. This privacy policy tells you what information we collect at our web site www.operatoday.com (the "Site") and how we use it.

WHAT INFORMATION WE COLLECT

There are many places on our Site where you can share your personal information with us, and where you can communicate with others.

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The Site has features that automatically collect information from users to assist us in creating sites that honor our users' preferences and serve their needs.

The Site uses cookies, which are small data files containing information about the user that are stored on the user's hard drive. Some cookies are used to make login to our sites easier (such as by remembering usernames, passwords and preferences). If users reject cookies, they may be limited in using some areas of the Site. Cookies can also enable us to track users' movements and target their interests to enhance their experience at the Site. We may also collect clickstream data and assign unique identifiers to our users for the same purpose. Information obtained with these technologies may be associated with personal information for registered users.

The Site may also feature editorial and/or promotional content of third parties. These third parties may also use cookies or other technology, and we advise you to check their privacy policies for information about their cookies and other privacy practices. For our internal purposes, we may gather information such as the date, time, browser type, navigation history, and IP address of all visitors to the Site. We use this information for our internal security audit log, trend analysis, and system administration, and to gather broad demographic information about our user base for aggregate use.

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We may share your information with others if you choose to let us do so, such as where we offer opt-out or opt-in choices. Other than as set forth in this policy, we do not share your personally identifiable information with other companies, apart from those acting as our agents in providing our service to you, and which agree to use it only for that purpose and to keep the information secure and confidential. We will also disclose information we maintain when required to do so by law, for example, in response to a court order or a subpoena or other legal obligation, in response to a law enforcement agency's request, or in special cases when we have reason to believe that disclosing this information is necessary to identify, contact or bring legal action against someone who may be causing injury to or interference with (either intentionally or unintentionally) our rights or property. You should also be aware that courts of equity, such as U.S. Bankruptcy Courts, may have the authority under certain circumstances to permit your information to be shared or transferred to third parties without your permission.

We may share (provide and receive) aggregate information, which is not personally identifiable, with others. This information may include demographic data such as the gender and/or geographic location of groups of users, but it will not include personal information (such as your name or email address). We use aggregate demographic information about our audience in order to improve our service, for marketing purposes and/or industry reporting purposes.

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If a user's personally identifiable information changes (such as zip code), we endeavor to provide a way to correct or update that user's personal data. Please feel free to contact us if you have any questions regarding making changes to your data.

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PRIVACY POLICY CHANGES

We reserve the right to modify, alter or otherwise update this Privacy Policy at any time, so we encourage you to review this policy from time to time.

CONTACT

If you have any questions about our privacy practices, please feel free to contact us by e-mail or by regular mail at Opera Today, Inc., PO Box 541245, Omaha, NE 68154, Attn: Privacy Questions

Last updated 15 December 2005.