Q & A: Composer Matteo Neri & Librettist Alejandra Martinez on Creating New ‘Escobar’ Opera

https://operawire.com/q-a-composer-matteo-neri-librettist-alejandra-martinez-on-creating-new-escobar-opera/

Pablo Escobar means different things to different people. For many, he’s the ultimate representation of the evil of drug cartels and of the druglord and crime at large. A terrorist. For those who defend his image, he’s hated because he’s the ultimate rags to riches story, a rebel who turned capitalism against its gatekeepers. For an entire generation of Colombians, {…}

Behind the Scenes, Interviews, Stage Spotlight

Q & A: Composer Pauchi Sasaki on Her Multi-Platform Opera ‘ARTEMIS’

https://operawire.com/q-a-composer-pauchi-sasaki-on-her-multi-platform-opera-artemis/

Operas take years to compose as evidenced by some of the greatest works the art form has to offer. But in most cases, audiences don’t hear the opera until it’s finished. Peruvian composer Pauchi Sasaki is taking a different approach to opera creation. Over the last few years, Sasaki has been in the process of creating the multi-platform opera “ARTEMIS” {…}

Opera Meets Film, Special Features

Opera Meets Film: New Camarata Opera’s Animated Opera ‘One Train’ and Its Magic

https://operawire.com/opera-meets-film-new-camarata-operas-animated-opera-one-train-and-its-magic/

An exciting new project by New Camerata Opera, the animated short-film opera entitled “One Train,” bears the markers of a great path towards making opera more inviting. A joint effort by librettist Hannah McDermott and Hilary Purrington, the story weaves a path of awareness, magic and selflessness. It is bound to surprise even the most well-seasoned opera goer. This {…}

News

Sarah Meyers Named On Site Opera’s New Artistic Director

https://operawire.com/sarah-meyers-named-on-site-operas-new-artistic-director/

(Photo Credit: Robert Adam Mayer) At On Site Opera’s annual fundraising gala the company announced the appointment of Sarah Meyers as its next Artistic Director, succeeding the company’s co-founder, Eric Einhorn. Beginning in January, Meyers will join forces with General Director / CEO Piper Gunnarson and Music Director Geoffrey McDonald. She said in an official press release, “I am excited {…}

Special Features

Trekking Through American Opera (Part One)

https://operawire.com/trekking-through-american-opera-part-one/

(Photo Credit: Scott Suchman) Throughout this new series, we will be looking at the history of American opera beginning in the 2000s to the present through a revisit of certain iconic works of the decade and OperaWire’s coverage of them throughout the 21st century. In this first part, we will look at the development of American opera during the 2000s, {…}

Reviews, Stage Reviews

Houston Grand Opera 2023-24 Review: Intelligence

https://operawire.com/houston-grand-opera-2023-24-review-heggie-intelligence/

Photo: Michael Bishop Houston Grand Opera’s season premiere, “Intelligence,” is not just another opera to take in – it’s an experience to be absorbed. It masterfully fulfills art’s big-picture role: sparking dialogues and bridging emotional divides, even when the discussions are challenging and the ties seem broken. This riveting work is realized through the collective genius of composer Jake Heggie, {…}

Special Features

A Stroll Through The Many Genres of Opera (Part Three)

https://operawire.com/a-stroll-through-the-many-genres-of-opera-part-three/

Having explored the tricky terrain of opera’s more conventional genres, as well as its regional varieties, what is left are the rather obscure versions of opera that have grown from different types of traditions and histories. What would happen if modern politics and opera were combined? What do you get when you feature a small break between each scene of {…}

Reviews, Stage Reviews

Royal Opera House 2023-24 Review: La Forza del Destino

https://operawire.com/royal-opera-house-2023-24-review-la-forza-del-destino/

(Credit: Royal Opera) I suppose anything with “Destiny” in the title will always be a bit profound. In fact, “La Forza” is about as profound and gloomy, if not downright dark as it gets, even by Verdi’s standards. At around four and a half hours, it’s also his longest work. It’s a story of love, death, and revenge. Mainly revenge. {…}