Joyce DiDonato is no ordinary opera singer. On the one hand, she is a dazzling performer with a remarkable mezzo-soprano voice. On the other, as an executive producer, she is a remarkable leader and spokeswoman for the arts. Both qualities were wonderfully evident in her 23rd performance of “EDEN.” Continuing her “EDEN” tour across Europe and the U.S., on this {…}
How can we wrap up a drop of joy? A shower? That’s what it was in Zellerbach Hall, Berkeley, Sunday, Oct. 24th as Jonas Kaufmann and Helmut Deutsch brought both, and more. As soon as the melodies of Franz Liszt wafted over the hall, anxiety, doubt and curiosity melted away, and we were moored in magic. Kaufmann was overall in {…}
Dates for composer Wayne Shorter and librettist / performer esperanza spalding’s “Iphigenia” have been announced. The opera, which will be directed by Lileana Blain-Cruz and conducted by Clark RUndell with set designs by Frank Gehry, costumes by Montana Levi Blanco, lighting by Jen Schriever, and sound by Mark Gray, will make its world premiere this November at ArtsEmerson in Boston {…}
(Credit: © Gregor Hohenberg / Sony Classical/BreeAnne Clowdus) Cal Performances has announced its 2021-22 season featuring an array of music including pop, opera, musical, and dance. For the purposes of this article, we will focus on vocal and operatic performances. Jonas Kaufmann and Helmut Deutsch showcase a program of lieder and songs in French, German, and Italian. Performance Date: Oct. {…}
Cal Performances’ “At Home” is set to present recitals by Christine Goerke and Renée Fleming. On April 1, Goerke’s recital will be presented from an Art Factory in New Jersey. The program will include music by Handel, Schumann, Brahms, and R. Strauss as well as a special selection of Italian songs celebrating the soprano’s heritage, musical-theater songs by Cole Porter {…}
(Credit: Andrew Eccles) Renée Fleming, a house prima donna assoluta, retired from the Met Opera at the height of her powers only a couple years ago, covered in glory while enjoying warm and enthusiastic public acclaim. Her final appearance on the Met’s stage as the Marschallin in the Robert Carsen production of Strauss’ “Der Rosenkavalier” was given the exalted confetti {…}
From high up in the mountains; from a knoll, within a cave; from a curlicue within the cave, behind a rock; within two back to back rocks, down under the ground about two feet; behind a shelf of rock, jutting out from inside a dome of the oldest rocks in that cave and ancient concavities; comes this voice, round, round {…}