Oper Graz 2018-19 Review: Salome
https://operawire.com/oper-graz-2018-19-review-salome/
Johanni van Oostrum’s sensational Salome saves a fatally
flawed production from Florentine Klepper.
https://operawire.com/oper-graz-2018-19-review-salome/
Johanni van Oostrum’s sensational Salome saves a fatally
flawed production from Florentine Klepper.
https://operawire.com/q-a-soprano-mary-dunleavy-on-dinner-at-eight-critics-more-strauss/
This year, Wexford Festival Opera presented the European premiere of William Bolcom and Mark Campbell’s opera “Dinner at Eight,” an operatic version of the stage play and Hollywood film of the same name. At the center of the opera is Millicent Jordan, who was portrayed in this version by soprano Mary Dunleavy. The American soprano has sung all over the {…}
https://operawire.com/oper-graz-2017-18-review-maria-de-buenos-aires-makes-a-sensational-debut-in-austria/
Undoubtedly the most successful musical ever written about Argentina was Andrew Lloyd Weber’s “Evita,” which stormed into the Prince Edward Theatre in London in 1978. Ten years before, Astor Piazzolla’s “María de Buenos Aires” made a much more modest debut at the Sala Planeta in the Argentinean capital. Nominally a “tango operita,” this relatively short work is a much more fascinating {…}
https://operawire.com/teatro-nuovo-bel-canto-festival-2018-review-medea-in-corinto/
This review is for the performance on Sunday, July 29, 2018. Beginning on Saturday, July 28, 2018, Teatro Nuovo’s Bel Canto Festival has opened with their production of Rossini’s “Tancredi.” The festival aims to showcase seldom-seen works that are able to enchant audiences, and their production of Giovanni Simone Mayr’s “Medea in Corinto,” does that and more. Due to being {…}
https://operawire.com/teatr-wielki-warsaw-2017-18-review-carmen-rinat-shaham-leonardo-capalbo-salvage-senseless-production-by-andrzej-chyra/
Sir Anthony Hopkins is a world-famous actor who also happens to be a gifted composer. Despite his considerable musical skills, he has made it quite clear that he is unqualified to direct an opera. In Poland, Andrzej Chyra enjoys A-list celebrity status as a one of the country’s foremost film and television actors. He is also probably partial to the {…}
https://operawire.com/palazzetto-bru-zane-2017-18-review-le-tribut-de-zamora-gounod-bicentennial-year-off-to-a-great-start-in-munich/
Charles Gounod (1818-1893) is probably best known for his opera “Faust” or perennial arrangement of Bach’s “Ave Maria,” which countless choir boys have crooned with cherubic innocence if not perfect intonation. In fact the pious Parisian composer was extraordinarily prolific having written twelve and a half operas (“Maître Pierre” was not completed), six oratorios, three ballets and countless masses, motets and {…}
https://operawire.com/tenri-cultural-institute-2018-review-emily-bronte-through-life-and-death-a-chainless-soul-a-fitting-celebration-of-brontes-genius/
To celebrate the 200th anniversary of the birth of Emily Bronte, the Tenri Cultural Institute world premiered “Emily Bronte: Through Life and Death, A Chainless Soul,” composed by Akemi Naito. Naito’s work was presented within the “Healing” exhibition of visual artist Toshihiro Sakuma, which gave a minimal but deeply-meaningful surrounding for the performance to unfold. With a background projection of {…}
https://operawire.com/american-soprano-marilyn-tyler-dies-aged-91/
American soprano Marilyn Tyler has passed away on Dec. 21, 2017. Her career spanned 25 years, during which time she performed with the Royal Philharmonic Orchestra, the New York Philharmonic, the Cologne Radio Symphony, the Vienna Philharmonic, and the Boston Symphony. As a soloist, she sang under the baton of conductors such as Bernard Haitink, Sir Colin Davis, Georg Solti, {…}
https://operawire.com/la-fenice-2016-17-review-cefalo-e-procri-solid-production-concept-team-revives-underdeveloped-work/
For the final new production of the 2016-17 season, La Fenice presented Krenek’s chamber opera, “Cefalo e Procri,” consisting of a prologue and three scenes. Written in 1934, for the 3rd International Festival of Contemporary Music at the Venice Biennale and premiered at the Teatro Goldoni, to a libretto by Kuefferle, it received only a lukewarm reception and promptly disappeared {…}