https://operawire.com/a-survey-of-berliozs-operas/
Hector Berlioz has always stood as a controversial figure in the world of classical music. Born on Dec. 11, 1803, his legacy has been one of confusion for many artists. On one hand, he is seen as an incredible genius, whose music is among the richest ever written, his orchestration revolutionary. Others find his music ambiguous in quality, with only {…}
https://operawire.com/pacific-opera-project-2017-18-review-la-boheme-the-hipsters-an-intelligent-adaptation-of-the-puccini-classic-set-in-the-21st-century/
On December 8, 2017, Pacific Opera Project presented its version of Giacomo Puccini’s “La bohème,” called “The Hipsters.” Artistic Director and Company Co-Founder Josh Shaw defines “hipsters” as twenty to thirty-year-old well-educated members of a subculture that values independent thinking, an appreciation of art, creativity, intelligence, and the witty banter of well-educated young adults, many of whom have liberal arts {…}
https://operawire.com/artist-of-the-week-pavel-cernoch-to-open-new-damnation-de-faust-production-in/
This week marks the opening of the Teatro dell’Opera di Roma and with it, a new production of “La Damnation de Faust.” Headlining the cast will be burgeoning tenor Pavel Černoch. The tenor, just 43, hails from the Czech Republic and had his first big break when he debuted at the Bavarian State Opera in Munich in 2009 as Števa {…}
https://operawire.com/manhattan-school-of-music-2017-18-review-cendrillon/
As Manhattanites anxiously awaited the arrival of this Holiday season’s first snow, everyone seemed to buzz with excitement and wonder. This magical contagion was carried into the opening night of Manhattan School of Music’s production of “Cendrillon.” Everyone gathered in an intimate Baroque style setting at the Alliance Française’s Florence Gould Hall, and it only felt natural to partake in {…}
https://operawire.com/metropolitan-opera-2017-18-review-norma-angela-meade-jamie-barton-rock-the-met-with-gargantuan-singing/
Back in fall 2013, Sondra Radvanovsky sang her first “Norma” at the Met. A few performances later, Angela Meade and Jamie Barton stole the spotlight when they were paired together for the second cast of the opera. Now it is the 2017-18 season and the pattern has continued, with the inclusion of Marina Rebeka for two performances in between. While {…}
https://operawire.com/top-5-opera-to-see-this-weekend-128-10-anna-netrebko-adela-zaharia-jose-cura-lead-star-studded-weekend/
Another weekend is here and many of the biggest stars are performing in some of the greatest theaters. If you want to know where Anna Netrebko, Sonya Yoncheva, Jonas Kaufmann or Piotr Beczala are performing, here is a look at our top five to see this weekend. “Andrea Chénier”- Teatro Colón, Argentina José Cura continues his run of “Andrea Chénier,” {…}
https://operawire.com/not-just-cavalleria-rusticana-a-survey-of-pietro-mascagnis-other-operas/
We all know “Cavalleria Rusticana,” the great masterpiece of Pietro Mascagni, who was born on Dec. 7, 1863. Unfortunately, that’s all most people in the opera world and outside of it, know about the Italian composer. It’s actually quite unfortunate, given that “Cavalleria” was his very first opera and that he would go on to write 15 total, his final {…}
https://operawire.com/artist-of-the-week-yusif-eyvazov-makes-la-scala-debut-as-andrea-chenier/
Over the past few years Yusif Eyvazov’s star has been in ascension. Since his breakout in 2014, when he performed “Manon Lescaut” with Anna Netrebko at the Teatro dell’opera di Roma, the tenor has debuted in many of the greatest theaters. However, this week he will headline his biggest assignment yet. Eyvazov will open the Teatro Alla Scala 2017-18 season {…}
https://operawire.com/opera-profile-bernsteins-candide/
Making its premiere on December 1st, 1956, Leonard Bernstein’s “Candide” is adapted from a novella of the same name written by the Enlightenment-era philosopher Voltaire. Being a comic operetta, it satirizes the prevailing attitudes of Voltaire’s time, particularly those of the church and of monarchism. Playwright and librettist Lillian Hellman saw clear parallels between the Inquisition of Voltaire’s time and {…}