(Photo Credit @Paramount Pictures) Stephen Frears‘ 2016 film, “Florence Foster Jenkins,” was a instantaneous, worldwide success among critics and the public alike. It was one of the most popular biopic projects in recent Hollywood history to touch upon the musical scene before the release of Pablo Larraín’s “Maria.” The film tells of the exploits of Florence Foster Jenkins (1868-1944), who {…}
Who knew that a music video entitled “Opera” could instigate a conversation on the nature of opera and being human? Thanks must be given to Niklas Paschburg, a German musical artist whose ‘ambient pop’ style blurs the distance between conscious and unconscious feeling: itself the very constitution of opera’s ‘third death.’ In this month’s “Opera Meets Film,” I explore the {…}
Released in 2008, Canadian director Kevin Sullivan’s reimagining of “The Magic Flute” in his film, “Magic Flute Diaries,” was a profound statement on the way operatic narratives could be fused into the real world through a cross-relationship of experience, emotion, and feeling. Starring Canadian soprano Mireille Asselin as Masha/Pamina and baritone Olivier Laquerre as Papageno, the film continued the trend {…}
What happens when a rather questionable story where good intentions end up futile in the face of capricious behavior is re-conceptualized? “The Opera!” by directors Paolo Gep Cucco and Davide Livermore. It is a strange sort of film where the two central characters are played by opera singers (Orpheus, Valentino Buzza and Eurydice, Mariam Battistelli) who seem woefully under-prepared to {…}
What is life if it’s not lived? Maria, “La Divina,” Callas lived a life which could fill 100 and yet, she kept going until her form could no longer sustain itself under the gravitas of her vitality. Having starred in her only film, “Medea“ (1969), producing some of the most important masterclass recordings of operatic history at Juilliard in New York {…}
The idea that opera is a controversial influence on society is not a new idea per se. Beginning in the early 17th century, the idea of “opera” in its formal meaning began to spread, and by the end of the next century, it had become a seminal part of cosmopolitan life in Baroque (then Classical) Europe. That being said, during the {…}
(Photo Credits: Photofest) It’s no surprise that Richard Wagner’s music is a popular choice for cinematic moments of intense dramaticism, humor, horror, suspense, philosophical gravity, and pleasure. From the many comical moments in the 1957 Warner Bros’ film, “What’s Opera, Doc?,” Werner Herzog’s sobering 1992 documentary experience, “Lessons of Darkness,” the endearing 1930 film, “Fire At The Opera,” or the {…}
(Photo Credit: San Francisco Opera) On November 1, at 8 p.m. (PDT), the new film, “Eun Sun Kim: A Journey Into Lohengrin,” was broadcast for the first time, although being available for viewing already. Featuring the Korean conductor Eun Sun Kim and her labors around the preparation of San Francisco Opera’s 2023 production of Wagner’s “Lohengrin,” the behind-the-scenes film is {…}
(Photo Credit: Israeli Opera House) Taking three years to write, composer Yonatan Cnaan and director Ido Ricklin’s opera, “Theodor: The Unknown Story of Herzl,” is a summarization of Theodor Herzl’s life. It was premiered by the Israeli Opera House in 2023, following the attacks on October 7th, 2023. Conducted by Nimrod David Pfeffer, the evening was powerful and monumental. Luckily, {…}
(Photo Credit: Getty Images) Maria Callas, better known as La Divina and the immortal muse of art, died on September 16, 1977, having lived a life that no-one else could have lived—or, better phrased, survived. Having sung in practically every major house in the world; recorded a enormous quantity of material from Verdi, Puccini, and Bellini, to Wagner, Spontini, Bizet, Rossini, {…}
After 140 years, Wagner’s final opera, “Parsifal,” first performed at the second Bayreuth Festival in 1882, finally got its Mexican premiere in April of this year. While not quite an opera—it was defined by Wagner as an ‘Bühnenweihfestspiel,’ or a ‘stage festival play’ with a sacred focus—Wagner’s final piece testifies to his consummate understanding of opera as not just a {…}