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Metropolitan Opera Settles Lawsuit with Mezzo-Soprano Wendy White

https://operawire.com/metropolitan-opera-settles-lawsuit-with-mezzo-soprano-wendy-white/

(Credit: Ken Howard/Metropolitan Opera) The Metropolitan Opera has finally settled its lawsuit with mezzo-soprano Wendy White. The New York Times is reporting that the case was settled after White was expected to return to court this month, but when a deal was reached with the Met, a scheduled trial was called off. According to the Times, neither the Met nor {…}
Interviews

Q & A: Italian Baritone Bruno Taddia On His Role as Licinius in Spontini’s ‘La Vestale’

https://operawire.com/q-a-italian-baritone-bruno-taddia-on-his-role-as-licinius-in-spontinis-la-vestale/

(Photo: Matilde Fassò) Italian baritone Bruno Taddia is embarking on his most challenging role yet as Licinius in Gaspare Spontini’s “La Vestale,” with libretto by Étienne de Jouy, for the Pergolesi Spontini Festival in Jesi. OperaWire dives headfirst into asking Taddia all about how he connects with this role and what it means to him as he performs for this {…}
News

William Kentridge Named Artist in Residence at Bergen International Festival

https://operawire.com/william-kentridge-named-artist-in-residence-at-bergen-international-festival/

The Bergen International Festival has named William Kentridge the Artist in Residence for the 2025 season. The festival announced that Festival Director Lars Petter Hagen invited two of the South African artist’s stage productions to Bergen. The Bergen International Festival 2025 will open with Kentridge’s latest performance, “The Great Yes, The Great No,” which had its world premiere this past {…}
Reviews, Stage Reviews

Royal Ballet and Opera 2024-25 Review: Eugene Onegin

https://operawire.com/royal-ballet-and-opera-2024-25-review-eugene-onegin/

(Photo: Tristram Kenton) “Eugene Onegin,” Tchaikovsky’s reworking of Pushkin’s verse novel into seven ‘lyric scenes,’ has not been seen on the Covent Garden stage for nearly a decade. Ted Huffman’s new staging would have been an event for that reason alone, but its significance was underlined by the fact that it sees one of the most striking young directors making {…}
News

Benjamin Bernheim & Christian Van Horn Lead HD Performance of Metropolitan Opera’s ‘Les Contes d’Hoffmann’

https://operawire.com/benjamin-bernheim-christian-van-horn-lead-hd-performance-of-metropolitan-operas-les-contes-dhoffmann/

(Credit: Karen Almond / Met Opera) The Metropolitan Opera’s 2024-25 live in HD series is set to open with Offenbach’s “Les Contes d’Hoffmann.” The opera will be shown in HD on Oct. 5 with Benjamin Bernheim taking on the lead role. The HD will mark his second following his acclaimed run of Gounod’s “Roméo et Juliette.” He will be joined by {…}
News

Royal Opera House Announces Cast Change for ‘Festen’

https://operawire.com/royal-opera-house-announces-cast-change-for-festen/

(Credit: OWL Artists) The Royal Opera House has announced a cast change for its upcoming world premiere “Festen.” The company said that the role of Else will be sung by Rosie Aldridge who replaces Eva-Maria Westbroek.  Aldridge made her Royal Opera debut in the 2016-17 season as Praskovya Osipovna/Vendor in “The Nose” and has returned as Mrs Sedley in “Peter {…}
Reviews, Stage Reviews

Opera Australia 2024 Review: Hamlet

https://operawire.com/opera-australia-2024-review-hamlet/

(Credit: Keith Saunders) It was commissioned by and premiered at the Glyndebourne Festival in 2017. Then new cities followed suit every year (apart from the horrid COVID-infected era): Adelaide Festival (2018), a new production in Cologne, Germany (2019), the massive success at the Metropolitan Opera of New York (2022) and the Bavarian State Opera in München (2023). Finally, after seven {…}
DVD and CD Reviews, Reviews

CD Review: Hèctor Parra’s ‘Les Bienveillantes’

https://operawire.com/cd-review-hector-parras-les-bienveillantes/

This is the sixth of Hèctor Parra’s stageworks, but only the second by the Spanish composer to be issued commercially on disc. His earlier “Hypermusic Prologue“ from 2009 was a mind-numbingly complicated sonic experience—one of those conceptually overblown music-theater experiments that every “serious” European composer of the past decades has felt impelled to foist on audiences. But in the ten {…}

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