On March 18, the National Kaohsiung Center for the Arts Weiwuying is set to open a production of Verdi’s immortal “La Traviata,” which will be performed for a live audience. For many opera singers, the possibility of returning to the stage in front of a live audience is something truly unique and special, and this is undoubtedly the case for {…}
For eight years, Sir Mark Elder has been the Artistic Director of Opera Rara, a London-based opera company and recording label specializing in recording and performing forgotten operatic repertoire. In this capacity, Elder has discovered new pieces and has recorded and performed such works as Donizetti’s “Dom Sebastien,” “Imelda di Lambertazzi,” “Linda di Chamounix,” “Maria di Rohan,” “Les Martyrs” and {…}
Four characters across generations come to terms with their identities as a major coming-out story was playing out on television. That is at the core of “The Puppy Episode,” a new work set to be showcased by Chicago Opera Theater as part of its Vanguard Emerging Opera Composer Residency. The work was composed by Matthew Recio in collaboration with librettist {…}
“At Home With… ” is a series collaboration between OperaWire and photographer Frances Marshall of Marshall Light Studio, combining original photography with insightful interviews. In this third installment, OperaWire spoke with mezzo-soprano Taxiarchoula Kanati. Greek mezzo-soprano Taxiarchoula Kanati was at the very cusp of moving into the next phase of her career when COVID-19 brought the world and the industry {…}
When La Monnaie was forced to postpone its planned “Bastarda” project, which would have featured the Tudor trilogy and Donizetti’s rarely performed “Il castello di Kenilworth,” the company had to opt for an alternative. The company decided to perform two rare works by Donizetti and Rossini; “La Favorita” and “Elisabetta, regina d’Inghilterra.” However, it would only be highlights of the {…}
While we are slowly but surely seeing the light at the end of the COVID-19 tunnel, there is a long way to go before industries like the opera world can return to anything approximating “normalcy” that we experienced prior to the pandemic. While some companies have experimented with live performances throughout the past year, the results usually force those organizations {…}
(Credit: Dario Acosta) In the fall of 2020 Eleonora Buratto made a trimuphant role debut as Elvira in Verdi’s “Ernani.” The soprano’s performance at the Verdi Festival were one of the few opportunities for Buratto (and almost any singer) to perform for a live audience. Critics raved about her “stylistic purity” and her “intensity.” There seemed to be hope at {…}
David Stern’s opera company, Opera Fuoco, recently released a 14-part online series of “The Marriage of Figaro” which is set in 2020. The series was created in response to the new technological developments and the new streaming era of opera which has grown due to the COVID-19 pandemic. Stern is a firm believer that in the Netflix-era, people want/need to {…}
In 2016, while still studying at the Royal College of Music in London, Swiss soprano Marie Lys was offered the role of Asteria in Buxton Festival’s production of “Tamerlano.” Although it was her first professional stage performance she gave a noteworthy presentation, with critics applauding her “impressive range,” “sweet singing” and “appealing, flexible tone.” Since then her career has been {…}