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Kate Lindsey, Vera-Lotte Boecker, Eleonora Buratto, Aušriné Stundyté, Anja Kampe, Juliana Grigoryan, René Barbera & Elbenita Kajtazi Headline Staatsoper Hamburg’s 2025-26 Season

https://operawire.com/kate-lindsey-vera-lotte-boecker-eleonora-buratto-ausrine-stundyte-anja-kampe-juliana-grigoryan-rene-barbera-elbenita-kajtazi-headline-staatsoper-hamburgs-2025-26-season/

The Staatsoper Hamburg has announced its 2025-26 season. Premieres  Robert Schumann’s “Das Paradies und die Peri” will be directed by Tobias Kratzer and conducted by Omer Meir Wellber and Felix Hornbachner. The work will star Vera-Lotte Boecker, Eliza Boom, Kady Evanyshyn, Kai Kluge, Annika Schlicht, Xavier Sabata, Eric Lunga Hallam, and Christoph Pohl. Performance Dates: Sept. 27-Nov. 1, 2025 Glinka’s “Ruslan und Ljudmila” will be {…}
News

Opera Australia Unveils 2025 Season

https://operawire.com/opera-australia-unveils-2025-season/

Opera Australia has announced its 2025 season. Sydney The season opens with Massenet’s “Cendrillon.” Evan Rogister and Tahu Matheson conduct. Laurent Pelly directs a cast starring Emily Edmonds, Margaret Plummer, Sian Sharp, and Emma Matthews. Performance Dates: Dec. 31, 2024 – March 28, 2025 “The Barber of Seville,” in a production by Elijah Moshinsky, stars Samuel Dale Johnson, Samuel Dundas, {…}
News

English National Opera Announces Two Cast Changes for ‘The Elixir of Love’

https://operawire.com/english-national-opera-announces-two-cast-changes-for-the-elixir-of-love/

The English National Opera has two cast changes for its production of Donizetti’s “The Elixir of Love.” The company said that due to unforeseen circumstances, Innocent Masuku and Nmon Ford have withdrawn from the roles of Nemorino and Belcore in November 2024. As a result, Thomas Atkins will sing Nemorino and Dan D’Souza will perform Belcore. Both will make their {…}
News

Nadine Benjamin, Weston Hurt, Mary Bevan & Heidi Stober Lead English National Opera’s 2024-25 Season

https://operawire.com/nadine-benjamin-weston-hurt-mary-bevan-heidi-stober-lead-english-national-operas-2024-25-season/

The English National Opera has announced its 2024-25 season. Puccini’s “La Bohème” opens the season with a cast that includes Nadine Benjamin, Joshua Blue, Charles Rice, Vuvu Mpofu, Patrick Alexander Keefe, and Dingle Yandell. Clelia Cafiero conducts. Performance Dates: Sept. 26-Oct. 19, 2024 Sinead Campbell-Wallace and Christine Rice star in Puccini’s “Suor Angelica.” Corinna Niemeyer conducts the production by Annilese Miskimmon. Performance Date: {…}
Reviews, Stage Reviews

Opera Australia 2024 Review: The Magic Flute

https://operawire.com/opera-australia-2024-review-the-magic-flute/

(Photo credit: Keith Saunders) Mozart’s “The Magic Flute” has a bit of everything – part-serious opera, part-singspiel, part-burlesque, part-ritual. Music commentators often seem much exercised with how to categorize it. That thought arose while watching Kate Gaul’s new production of “The Magic Flute” on February 1. This was the third opera in Opera Australia’s 2024 summer season at Sydney Opera {…}
News

Christophe Dumaux, Kang Wang, Samantha Clarke, Stacey Alleaume, Cathy-Di Zhang Headline Opera Australia’s 2024 Sydney Season

https://operawire.com/christophe-dumaux-kang-wang-samantha-clarke-stacey-alleaume-cathy-di-zhang-headline-opera-australias-2024-sydney-season/

Opera Australia announced its 2024 summer season which will feature five Sydney Opera House premieres. Guest Creative Director Lindy Hume curated the season. The program highlights the scope of Australian talent both “on and off the stage,” as well as international guest artists and opera in contemporary storytelling. Hume’s program includes several milestone partnerships for Opera Australia including Victorian Opera, {…}
Reviews, Stage Reviews

Irish National Opera 2022-23 Review: Don Pasquale

https://operawire.com/irish-national-opera-2022-23-review-don-pasquale/

(Photo: Pat Redmond) The reaction of the audience at Dundalk’s Táin Theatre to Irish National Opera’s performance of Donizetti’s “Don Pasquale” said it all! Every scene, every joke, every overplayed reaction, every facial exaggeration was met with unaffected laughter. Rarely does one find an audience so totally engaged with a piece. At the final curtain, the performance was met with {…}

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