Sonya Yoncheva has canceled two concerts from her “Baroque Heroines tour.” The soprano announced on Facebook that due to contractual issues she would not perform in Munich nor Vienna. She stated, “I am very sorry that after a year of preparations and rehearsals two of my four ‘Baroque Heroines’ concerts had to be canceled. Unfortunately, the promoter ‘München Musik’ and {…}
The Boston Symphony Orchestra has announced its 2017-18 season with Jonas Kaufmann headlining. The German tenor will perform the second act of Wagner’s “Tristan und Isolde” with Camilla Nylund as his Isolde. The concert will be performed once in Boston with Andris Nelsons conducting and will later be repeated in Carnegie Hall. The season will also feature Frederica von Stade as {…}
The weekend comes with a number of great works, including three tour de force Donizetti queens. Among the artists performing are Mariella Devia, Jonas Kaufmann, Rene Pape and Javier Camarena. Austria The Vienna State Opera kicks off its weekend with Massenet’s “Werther” starring Ludovic Tézier, Adrian Eröd and Sophie Koch. The opera will be showcased on the company’s live stream {…}
Dvorak’s “Rusalka,” which premiered back on March 31, 1901, is among the most popular Czech operas in the standard repertoire. Unbeknownst to many, the work was not actually an adaptation of Hans Christian Andersen’s “The Little Mermaid or “Undine” by Friedrich de la Motte Fouqué. In fact, librettist Jaroslav Kvapil based his libretto on the work of Karel Jaromir Erben {…}
It’s the beginning of Spring and that means the stars are out and about preparing new roles, sporting new fashion and enjoying the weather. David Portillo enjoyed an evening at the LoftOpera watching the company’s acclaimed production of Rossini’s “Otello.” Inspiring performance today of Rossini’s Otello in Brooklyn. #loftopera #tenors #desdemona @loftopera A post shared by David Portillo (@porttenor) on {…}
A number of major operas premiere new productions this weekend. Here are the major highlights of the weekend. The New York City Opera is back in action this weekend with a rare performance of Resphigi’s “La Campana Sommersa.” The rarely performed opera stars Fabio Armiliato and will be showcased on March 31 and April 1 with subsequent performances during the {…}
Whenever someone thinks of opera, children and teenagers aren’t usually their first thought. However, Opera Grand Rapids, in collaboration with their Emerging artists, and Ellington Academy, Creative Connections, has put a program together that reaches out to younger students and introduces them to the art form. “Children’s Sketch Days,” incorporates 50 students that are split up into classes that acclimate {…}
Opera Philadelphia has announced that Lawrence Brownlee, whose lead performance in the 2015 world premiere of Charlie Parker’s “Yardbird” kick-started the company’s “big commitment to new repertoire” has joined the company as an Artistic Advisor. The company announced in a press release that Brownlee will work with General Director & President David B. Devan and Corrado Rovaris, the Jack Mulroney {…}
The New York City Opera will be showcasing Ottorino Respighi’s “La campana sommersa” on March 31. The company will have subsequent performances on April 1, 4 and 5. As is the case with the composer’s operatic output, this opera is rarely performed these days, giving it great intrigue. Here are a few fun facts to fill you in before you {…}
Opera Orlando is opening its new 2017-2018 season in the park! The company’s first production will open on August 21, 2017, at 2 P.M., featuring Mezzo-soprano Amanda Crider. The next weekend “The Three Baritones,” Nathan Stark, Brain Myer, and Gabriel Pressier, will perform. Finally, Tenor Marco Panuccio will end the summer series for Opera Orlando. All of the concerts will {…}
On March 31, the Teatro Real and Medici.tv will present Handel’s “Rodelinda” on the live stream platform. The performance will feature the new production by Claus Guth, which the director noted was inspired by a house in London in which Mike Jagger lived in. Guth also noted that he didn’t want to use a specific time period because the story of the opera {…}