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Reviews, Stage Reviews

Opera San José 2018-19 Review: Moby Dick

https://operawire.com/opera-san-jose-2018-19-review-moby-dick/

“Moby Dick” wasn’t a hit in Melville’s day. Instead, the author remained a customs officer until his death, his literary genius living mostly underground and his epic masterpiece under wraps until the 20thcentury, when it was “discovered.” Composer Jake Heggie and librettist Gene Scheer’s opera “Moby Dick” has conversely sustained more success from the outset and this continued as their {…}

Reviews, Stage Reviews

Oper Frankfurt 2018-19 Review: Rinaldo

https://operawire.com/oper-frankfurt-2018-19-review-rinaldo/

Most musicologists concur that Handel did a major cut and paste job on “Rinaldo,” as more than two thirds of the score was cribbed from earlier compositions. There are also three versions of this tremendously successful opera from 1711, 1717 and 1731. Depending on singers’ availability and vocal condition, innumerable nips and tucks occurred at almost all 53 performances during Handel’s {…}

News

Ildar Abdrazakov, Plácido Domingo & Maria José Siri Lead Teatro Alla Scala’s 2018-19 Season

https://operawire.com/ildar-abdrazakov-placido-domingo-maria-jose-siri-lead-teatro-alla-scalas-2018-19-season/

The Teatro alla Scala has announced its 2018-19 season featuring a number of new productions and operatic classics. The season will once again include a number of Italian operas continuing the theater’s initiative to bring back Italian opera. Here is a look! Productions  The season opens with a new production of Verdi’s “Attila” starring Ildar Abdrazakov. David Livermore directs the {…}

News

Rolando Villazón, René Pape, Cecilia Bartoli Headline Mozart Week 2019 At Mozarteum Salzburg

https://operawire.com/rolando-villazon-rene-pape-cecilia-bartoli-headline-mozart-week-2019-at-mozarteum-salzburg/

The Mozarteum in Salzburg has announced its programming for Mozart week in 2019. It will feature a wide range of music including theatrical, vocal, orchestral, and chamber music. As has been our policy with other season announcements, OperaWire will stick to the vocal performances only in this article. The company will kick things off with a production of “T.H.A.M.O.S.,” a {…}

Reviews, Stage Reviews

English Concert 2018 Review – Rinaldo: Harry Bicket’s Interpretation brings Harry Potter’s Magic to Madrid

https://operawire.com/english-concert-2018-review-rinaldo-harry-bickets-interpretation-brings-harry-potters-magic-to-madrid/

As Professor Higgins insisted, diction is everything. If one mentions the word “Rinaldo” in Madrid without clearly articulating the letter “i” as an Italianate “ee,” locals invariably start talking about the football superstar from the Stadio Bernabeu rather than an obscure baroque opera in the National Auditorium. Obviously Handel’s “Rinaldo” is a different pitch altogether, although ambiguity is still inherent. {…}

News

Mahler To Dominate Metropolitan Opera Orchestra’s Carnegie Hall Concerts

https://operawire.com/mahler-to-dominate-metropolitan-opera-orchestras-carnegie-hall-concerts/

The Metropolitan Opera Orchestra launches its Carnegie Hall series on May 31, 2017 and will showcase three diverse programs showcasing some of Mahler’s greatest vocal writing. The series kicks off on May 31 with Susan Graham and Matthew Polenzani in selections from “Des Knaben Wunderhorn” and Symphony No. 1. Esa-Pekka Salonen conducts the program. On June 3, Salonen conducts mezzo-soprano Karen {…}

Reviews, Stage Reviews

Theater Bonn Review 2016-17 – Peter Grimes: José Cura Shifts The Blame On Main Character, Concocting An Engrossing Production

https://operawire.com/theater-bonn-review-2016-17-peter-grimes-jose-cura-shifts-the-blame-on-main-character-concocting-an-engrossing-production/

The starting point for any production of Peter Grimes lies in the interpretation of the opera’s central character, namely Peter Grimes himself: to what extent should the audience be encouraged to view the anti-hero as an outsider, a victim of the underlying, but all-pervading intolerance and hypocrisy which saturates the Borough, rather than simply as a sadistic sociopath? Clearly, any {…}

Reviews, Stage Reviews

Metropolitan Opera 2016-17 Review – Rusalka: Mary Zimmerman, Kristine Opolais & Company Take Us On Dramatically Rich Journey To Find Operatic Identity

https://operawire.com/metropolitan-opera-2016-17-review-rusalka-mary-zimmerman-kristine-opolais-company-take-us-on-dramatically-rich-journey-to-find-operatic-identity/

We acknowledge that OperaWire is late to the “Rusalka” party, but here is our review for the performance on Feb. 17, 2017, the fifth performance of this run. Antonín Dvorák’s “Rusalka” is the epitome of a metaphorical operatic identity crisis. The opera, which is a grim version of Hans Christian Andersen’s “The Little Mermaid,” follows the story of a water {…}