“Page to Opera Stage” looks at stories – real-life or fiction, old and new – that have inspired operas, and the ways these narratives have been edited and dramatized to fit a new medium. This week, we look at a theatrical work adapted for opera: Oscar Wilde’s often-banned “Salome” and Richard Strauss’ no-less-controversial operatic reworking. Over the past few weeks, {…}
(Credit: Franco Lannino) On June 14, Simone Piazzola will take the stage of the Teatro Nacional de São Carlos in Lisbon for the very first time marking the Italian baritone’s Portugese debut and his first live performance since the pandemic. Piazzola will sing the role of Carlo in “Ernani,” a role that he has performed at the Teatro alla Scala, {…}
Over the past few years, few LGBTQ+ operas have managed as much mileage as Laura Kaminsky, Kimberly Reed, and Mark Campbell’s “As One.” The chamber opera has seemingly played everywhere (and continues to do so) and has firmly established its foothold as a staple of the modern operatic repertory. So for this week’s quiz, we take a look at the {…}
With live performances returning to the stage, OperaWire will continue its weekly artist of the week series highlighting some of the world’s greatest artists as they reach milestones in their careers. And this week will be an exciting one at the Opera Theatre of Saint Louis as the company will world premiere the News Works Bold Voices Lab featuring three {…}
(Credit: Sarah Shatz) To kick off Pride month, we will focus on some of the notable LGBTQ+ operas for this week’s crossword puzzle. Instructions: You are free to solve the crossword directly on your mobile or desktop device; just the first box you wish to type into and type away. For those using a mobile device, we highly recommend turning {…}
“Page to Opera Stage” looks at stories – real-life or fiction, old and new – that have inspired operas, and the ways these narratives have been edited and dramatized to fit a new medium. This week, we look at Nikolai Gogol’s idiosyncratic, fantastical novella “The Nose” and Dmitri Shostakovich’s equally chaotic opera adaptation. One morning, a barber finds a nose {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a film section or a film in its entirety and highlight the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Fellini’s {…}
(Photo Credits: JosefLehmkuhl / Wikimedia Commons) OperaWire is proud to present “The Wonderful World of Opera Dogs,” a series by Diana Burgwyn, which will focus on the relationship between opera’s most iconic stars and their beloved canines. The creation of this series and all research necessary for each individual piece were conducted solely by Diana. To learn more about the {…}
“Page to Opera Stage” looks at stories – real-life or fiction, old and new – that have inspired operas, and the ways these narratives have been edited and dramatized to fit a new medium. This week’s article looks at Sir Walter Scott’s “The Bride of Lammermoor” and Gaetano Donizetti’s “Lucia di Lammermoor” – two stories that romanticise very different aspects {…}
