The Ring Cycle is one of the biggest operatic undertakings in the operatic repertoire. It’s always a special event especially when it is being shown in a new production. It’s a chance for a conductor and director to reinterpret the gigantic tetralogy and an opportunity for audiences to see something new from the work. Such a mammoth undertaking also allows {…}
“Opera Meets Film” has grown into one of OperaWire’s most popular sections. And to celebrate two years of the start of this weekly series, we are going to put opera and film fans to the test to see how much you really know about how opera is employed in movies. It should be a fun rediscovery of many topics we {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting 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 Guy Ritchie’s “Sherlock {…}
(Credit: Liv Øvland) Opera is quivering, twisting, and turning. Could it be that we are in an opera renaissance? There is a new blood pulsing through its veins. Opera and theater makers are pulling at its heart, resuscitating our interest and taking us to diverse locations with as yet unclassifiable languages and forms. The Xen of Opera looks at the {…}
August 16 and 17, 1876 featured the world premieres of “Siegfried” and “Götterdämmerung,” respectively. Those two operas have remained, along with the other two Ring operas, major fixtures of the opera repertory. In fact, the creation of the works, their history, and legacy, is legendary, especially among major Wagnerites. And it is precisely them that we challenge with this quiz {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting 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 Ridley Scott’s “Hannibal.’ {…}
In the opera world, we are constantly keeping our eyes on the stars. We think we know all about their respective paths and trajectories. We constantly evaluate their respective brightness and when we think they might potentially go dark. In essence, the opera world is obsessed with stars. So for this week’s edition of the Opera Quiz, we will take {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting 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 Benjamín Naishtat’s “Rojo.” {…}
(Credit: Brinkhoff/Mogenburg) Enescu’s “Œdipe” is a rarely performed work that premiered in 1936 and has since has made limited appearances around the world. It’s a work that depends on the dramatic powers of its lead baritone and one that many consider a challenge. This week, the Salzburg Festival is set to present the opera in a new production with Christopher {…}
