By David Cheal [FT, 24 April 2015]
Steve Reich and Beryl Korot tackle hubris with 2002 ‘video opera’ about science and technology
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.
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.
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.
By Micaela [Likely Impossibilities, 19 April 2015]
Men are sensitive and easily injured souls, as ten minutes in any internet comment section would tell you. Such is also the gist of Mascagni’s Cavalleria rusticana and Leoncavallo’s Pagliacci, the august double bill of verismo which presents us twice with the even more august situation of baritones interfering with soprano-tenor relationships and it all getting very bloody. In the Met's new production, Fabio Luisi makes these high octane scores sound quite classy, but otherwise the two diverge: a dreary, clunky Cav is followed by a fun and punchy Pag. Oh, one other thing in common: for better and for worse, Marcelo Alvarez is the tenor. I shouldn't be putting that last, which might give you an idea of what is going on here.
By Phillip Larrimore [14 April 2015, The Charlotte Observer]
Opera Carolina’s production of “Lucia di Lammermoor” at Belk Theater is elegantly set, handsomely lit, fleetly conducted, and sung with high virtuosity, especially among the principals.
By Rebecca Lentjes [bachtrack, 5 April 2015]
“The rhythm of words takes away from my sense of rhythm,” Meredith Monk explained after a riveting performance of her piece Things Heaven and Hell by the Young People’s Chorus of New York City. The third part of Ms. Monk’s 1992 work Three Heavens and Hells, this piece was one of only a handful to incorporate real words in the entirety of the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall last weekend.
By John R Severn [Music & Letters, February 2015]
This article explores how Otto Nicolai and Salomon Hermann von Mosenthal’s Die lustigen Weiber von Windsor (Berlin, 1849) might contribute to an alternative reception history of Shakespeare’s The Merry Wives of Windsor, in which the play’s unusual features—in particular the central role it gives to female agency, family life, and the natural world—are positively valued.
By Rebecca Lentjes [Bachtrack, 28 March 2015]
John Adams has been known to draw inspiration from American writers—Walt Whitman, E. Annie Proulx—for his works, but his most recent composition, Scheherazade.2, is presented as a musical sequel of sorts to the sprawling Middle Eastern collection One Thousand and One Nights. Mr Adams explained at the piece’s world première on Thursday
By Robert Hugill [Planet Hugill]
Joseph Haydn’s last oratorio Die Jahreszeiten (The Seasons) was conductor Sascha Goetzel's choice for the first oratorio performance by his Borusan Istanbul Phiharmonic Orchestra in the Istanbul Lütfi Kirdar ICEC on Thursday 12 March 2015. Goetzel and the orchestra were joined by soloists Miah Persson, Ian Bostridge and Duncan Rock, and the Salzburg Bach Choir.
Monday, March 30, 2015, 7pm
Weill Recital Hall at Carnegie Hall
Hear the stars of tomorrow today in a spectacular gala evening celebrating New York Festival of Song's Emerging Artists programs! Over the past decade, NYFOS has taken a growing interest in mentoring, coaching, and nurturing some of the most promising young vocalists of our era. Many opera programs exist for young artists but there are very few that focus only on the art of song. It is the most exposed and direct kind of performing—no costumes of make-up to mask one's vulnerability—just the musicianship, intelligence, and honesty of the singer. Over 100 young talents have participated in NYFOS residencies and some of our most distinguished alumni will appear in the gala, including Paul Appleby, John Brancy, Julia Bullock, Theo Lebow and Annie Rosen.
By Chris Hastings [Daily Mail, 14 February 2015]
She has dominated the airwaves during 30 years as a chart-topper, but now Radio 1 has decided that Madonna is an immaterial girl and just too old for its teenage listeners.
Despite her determined efforts to look - and sound - youthful, the 56-year-old has been dropped from the station’s playlist that determines which songs are played by DJs during the day.
By David Abrams [CNY Café Momus, 6 February 2015]
There’s little point in arguing whether Stephen Sondheim’s A Little Night Music is, at its core, a musical or an operetta. It could be either, depending on the resources put into the production effort. Syracuse Opera chose to trumpet the work as “operetta,” not musical theater, during the weeks leading up to Friday’s premiere. And that label calls into question the company’s use of a chamber-sized pit orchestra.
By Michael Shae [The New York Review of Books, 24 January 2015]
Maria Callas converted me to opera. I am sure I am not unique in this, except in the particulars. In my early college years I immersed myself in recordings of the nineteenth-century symphonic repertory—Beethoven, Schubert, Brahms, Bruckner, the Russians—but for a long time I refused to listen to opera, would listen to an overture and then rush to change the record before the singing started. Then one day my roommate put Callas’s 1953 Tosca on the turntable and dropped the needle onto “Vissi d’arte.” I had no idea what she was singing, but near the conclusion of that imploring aria, as she comes to the end of the arching wordless phrase that soars from an A down slightly to a G, there is an audible intake of breath. She gasps—or is it a sob?
By John Yohalem [Parterre Box, 25 January 2015]
Operamission, a scrappy little company that performs music from all sorts of eras and styles in venues all over town, is in fact its Kapellmeisterin, Jennifer Peterson. Her latest brainstorm was to give A Countertenor Cabaret, starring no fewer than 14 of these once-rare songbirds, in the cabaret space of the Duplex on Sheridan Square, and to live-stream the entire event, with translations of the remarkably varied musical fare.
There are many places on our Site where you can share your personal information with us, and where you can communicate with others.
Registration: You will have the opportunity to register with us, and sometimes registration is required before certain Site features can be used. Our registration forms may request your contact information (such as your name, email address, mailing address, etc.), demographic information (such as your country, gender, etc.), and profile data (such as your music preferences, entertainment practices, etc). You may be assigned a site username and/or password. For our internal purposes, we use this information to communicate with you and provide the services you have requested, and to provide a more personalized experience on our sites. For example, your registration may allow you to use and post to
Site message boards, create site profiles, etc. We use aggregate demographic and profile information about our audience in order to improve our service, for marketing purposes and/or for industry reporting purposes.
Newsletters and Other Communications from Us: You may elect to receive newsletters or other email communications from us, and we may also offer other users the opportunity to sign up to receive such information. When there is a separate sign-up for newsletters, we ask for contact information such as name and email address, and, occasionally, demographic and profile information. We use this information in the same manner as we use the contact information in the Registration process described above. Recipients of our mailings can unsubscribe by following instructions that may appear at the end of the email newsletter.
Note that in order to keep our registered users informed about the operation of our services, we may send emails and announcements that are needed for the proper functioning and administration of the Site.
Communications with Us: We have features where you can submit information to us (such as when contacting us with a question or feedback). We will may retain your emails and other information you submit to us for our internal purposes, and to help us to serve you better. Communications with Friends: We may offer features where you can send information to others, such as e-cards or "Tell A Friend" features. We will use the contact information you enter for your friends to send the email or e-card.
Interactive and Community Features: The Site may offer interactive and community features, such as message boards, chat, email accounts, instant messaging, profiles, personal homepages, etc. All information posted or sent through these features may be publicly available, and you should be aware that when you voluntarily disclose personal information (e.g., user name, email address, phone number) through these features, that information can be collected and used by others and may result in unsolicited communications from other people. Users' posts may be publicly and/or internally associated with their profiles/screen-names. Users are solely responsible for the content of messages they post or send on public forums.
Contests, Sweepstakes and Surveys: We may also have contests, sweepstakes and surveys at our sites. When you enter or participate in them, we request contact information from you (such as your full name, email address, mailing address, and telephone number) and may also request demographic or profile information. We will use the information you provide for the purpose of conducting the promotion (for example, to contact you if you have won). We may also use the information to send you newsletters and other information we think may be of interest. Recipients of our mailings can unsubscribe by following instructions that may appear at the end of the email newsletter. Any personal information collected will be used by us and may be associated with registration information. We may share aggregate information with others. We may sometimes partner with sponsors in offering contests, sweepstakes or surveys, and may share (provide and receive) information with them.
E-Commerce: The Site makes available certain items for purchase. In order to complete purchases made on the Site, we collect billing address and credit card information (such as account name, number and expiration date). This information is used for billing purposes only and is not otherwise shared. In the future, the Site may also feature special purchases or product offerings which link to a number of other third-party store sites and those stores may collect and use your personal information and credit information to process your order subject to their own privacy policies. We are not responsible for those other sites and advise you to check their policies and terms and conditions as they may vary.
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.
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.
Our sites may provide you the opportunity to choose to receive communications from us or from third parties at the point where we request information about you. You may also have the option of removing your name from any email list. In order to ensure the quickest removal from any list, it is best to follow the specific instructions outlined within the communications you receive from us.
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.
We strive to comply with the Children’s Online Privacy Protection Act (COPPA). We do not knowingly collect personal information from U.S. children under 13 without appropriate parental notice and consent. We are committed to protecting children’s privacy.
Security for all personally identifiable information is extremely important to us. We store your personal information securely, and use special procedures designed to protect the information we collect from loss, misuse, unauthorized access or disclosure, alteration or destruction.
We may provide links to third-party sites or content. We are not responsible for those other sites, their privacy policies or how they treat information about their users, and we advise you to check their privacy policies.
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.