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Interviews, Stage Spotlight

Q & A: Soprano Leah Hawkins On Met Opera ‘Porgy and Bess,’ Maria Callas’ 7 Deaths & the Importance of Trust

https://operawire.com/q-a-leah-hawkins-on-met-opera-porgy-and-bess-maria-callas-7-deaths-the-importance-of-trust/

(Credit: Columbia Artists) On Sept. 23, soprano Leah Hawkins, a member of the Lindemann Young Artist Development Program at the Metropolitan Opera, took part in the historic opening night performance of Gerswhin’s “Porgy and Bess” with the esteemed New York company.  the Metropolitan Opera. While she was not one of the major headliners in a cast that feature Angel Blue, {…}

Reviews, Stage Reviews

New York City Opera 2018-19 Review: Stonewall

https://operawire.com/new-york-city-opera-2018-19-review-stonewall/

(Photo credit: Sarah Shatz) Celebrating the 50th Anniversary of the Stonewall uprising and the 75th year of New York City Opera (NYCO), general director Michael Capasso debuted the world premiere of the LGBTQI+ focused new opera by Iain Bell and Mark Campbell, “Stonewall” on June 21, 2019. Currently the only opera company that houses a series supporting Pride Month, NYCO {…}

Reviews, Stage Reviews

Théâtre des Champs-Élysées Paris 2019 Review: Semele

https://operawire.com/theatre-des-champs-elysees-paris-2019-review-semele/

At the end of  “Semele” the chorus sings “Happy, happy, shall we be.” The text is a perfect sobriquet for anything to do with Harry Bicket and the English Concert. Their forays into the world of baroque music are never less than an exhilarating experience for audiences and artists alike. Meticulous musicianship and a palpable passion for playing make their annual {…}

Reviews, Stage Reviews

Chamber Music Society of Lincoln Center Review: ‘Seven Last Words’

https://operawire.com/chamber-music-society-of-lincoln-center-review-seven-last-words/

On Sunday, Mar. 31, 2019, the Chamber Music Society of Lincoln Center presented “Seven Last Words” at Alice Tully Hall, featuring bass-baritone Ryan Speedo Green, who has graced the stages of the Metropolitan Opera and Vienna State Opera, along with the Orion String Quartet. The Chamber Music Society aims to share great chamber music with audiences across the globe, performing {…}

DVD and CD Reviews, Reviews

Review: Cecilia Bartoli’s ‘Antonio Vivaldi’

https://operawire.com/review-cecilia-bartolis-antonio-vivaldi/

Cecilia Bartoli’s latest album, “Antonio Vivaldi” (2018) comes almost twenty years after her historic recording, “The Vivaldi Album,” which was released in 1999 to wide critical acclaim and incredible popular success. The 1999 album sparked a renewed interest in Vivaldi’s operatic works and positioned Bartoli as a champion of neglected or forgotten music. It also showcased Bartoli’s talents as a {…}

News

Anita Rachvelshvili, Iestyn Davies & Renée Fleming Highlight Chicago Symphony Orchestra’s 2019-20 Season

https://operawire.com/anita-rachvelshvili-iestyn-davies-renee-fleming-highlight-chicago-symphony-orchestras-2019-20-season/

The Chicago Symphony Orchestra has announced its 2019-20 season, featuring a number of important soloists and important works. For this season announcement, we will only focus on vocal showcases or programs related to opera in any way. Here is a look. Yannick Nezet-Seguin leads the Orchestre Métropolitain de Montréal in Bruckner’s Symphony No. 4 as well as Joyce DiDonato in {…}

Reviews, Stage Reviews

Carnegie Hall 2018 Review: Elīna Garanča In Recital

https://operawire.com/carnegie-hall-2018-review-elina-garanca-in-recital/

Mezzo-soprano Elīna Garanča, who recently opened the Metropolitan Opera’s 2018-19 season with her role in Saint-Saens’ “Samson and Delilah” took to Carnegie Hall with pianist Kevin Murphy for an evening of lieder, songs, and arias close to her heart and on the pulse of her prominent artistic career. Featuring the works of Schumann, Wagner, Ravel, and more, the program of {…}

Reviews

Dallas Opera 2018-2019 Review: Der Fliegende Holländer

https://operawire.com/dallas-opera-2018-2019-review-der-fliegende-hollander/

Halloween is around the corner and the Dallas Opera has, by chance or choice, opened its season with an opera that offers equal servings of fright and delight.  The second performance of the run was jaw-droppingly good, the stuff of crazy dreams and desperate nightmares. The story is relatively simple. Satan has cursed the Dutchman to wander the seas aimlessly {…}