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Obituary: Legendary Conductor Seiji Ozawa Dies at 88

https://operawire.com/obituary-legendary-conductor-seiji-ozawa-dies-at-88/

On Feb. 6 2024, Legendary conductor Seiji Ozawa passed away in Tokyo. He was 88. Born on Sept. 1, 1935, in Shenyang, China, Ozawa studied piano at a young age and then conducting (under Hideo Saito) in Japan. He had an international breakthrough when he won the First Prize at the International Competition of Orchestra Conductors held in Besançon, France in {…}

Reviews, Stage Reviews

Prototype Festival 2024 Review: Malinxe

https://operawire.com/prototype-festival-2024-in-review-malinxe/

Photo: Maria Baranova Prototype Festival’s Out of Bounds presented the world premiere of “Malinxe” on January 20th, 2024, in the Winter Garden at Brookfield Place. Out of Bounds is a platform for new vocal performance pieces that take place in unlikely locations across New York City. Through these new works, Out of Bounds makes public places into temporary spaces of {…}

Reviews, Stage Reviews

Prototype Festival 2024 Review: Adoration

https://operawire.com/prototype-festival-2024-in-review-adoration/

Photo:  Maria Baranova Prototype Festival presented “Adoration” at New York City’s The Sheen Center for Thought & Culture on January 12th, 2024. It was an innovative opera, featuring both voices, an amplified string quartet, and technical sound engineering, composed by Mary Kouyoumdjian with a libretto by Royce Vavrek. This world premiere, shockingly timely, challenged audience members to examine bias while {…}

Reviews, Stage Reviews

Opernhaus Zürich 2023-24 Review: Platée

https://operawire.com/opernhaus-zurich-2023-24-review-platee/

The Opernhaus Zürich presents a new production of a French Baroque masterpiece: “Platée,” a ballet-bouffon composed by Jean-Philippe Rameau in 1745. The premiere took place in Versailles as part of the festivities for the wedding of Louis XV with María Teresa Rafaela of Spain. The libretto, by Adrien-Joseph Le Valois d’Orville, draws inspiration from Greek mythology. It narrates the tale {…}

Behind the Scenes, Interviews

Q & A: Martin Glaser on His Directing Style & His Production of ‘The Jacobin’ in Brno

https://operawire.com/q-a-martin-glaser-on-his-directing-style-his-production-of-the-jacobin-in-brno/

Performances of Antonín Dvořák’s opera “The Jacobin” are certainly rare events, particularly outside the Czech Republic. Whether or not its neglect can be deemed deserved, however, is less certain. Its recent production by the Brno National Theatre, directed by Martin Glaser, would suggest that it has, indeed, been treated unfairly. Sure, it is full of folk melodies, dancing peasants, stock {…}

Reviews

The Church of Sweden 2023 Review: Johannes Brahms’ ‘A German Requiem’

https://operawire.com/the-church-of-sweden-2023-review-johannes-brahms-a-german-requiem/

After several days of lethargic grayness, apathetic rain, and candid winds, what seemed like the entirety of the Uppsala community gathered within the walls of our local cathedral to bear witness to Johannes Brahms’ selfless petition to all of mankind. Organized by the Church of Sweden, an Evangelical Lutheran denomination as it so happens, three choirs of the Uppsala Cathedral {…}

Interviews, Stage Spotlight

Q & A: Na’ama Goldman On Her Forthcoming Role Debut As Cesira At This Month’s Wexford Festival

https://operawire.com/q-a-naama-goldman-on-her-forthcoming-role-debut-as-cisera-at-this-months-wexford-festival/

(Photo: Maria Rosenblatt) With the start of the Wexford Festival Opera now only a matter of days away, OperaWire has been busy with recent interviews featuring some of the artists involved. One of the more intriguing productions at this year’s festival is “La Ciociara,” set in Italy during the Second World War. Having just interviewed its composer, we thought it {…}

Reviews, Stage Reviews

Bayreuth Festival 2023 Review: Der Ring des Nibelungen

https://operawire.com/bayreuth-festival-2023-review-der-ring-des-nibelungen/

(Photo: © Enrico Nawrath) As the final cycle of Bayreuth’s 2023 “Ring des Nibelungen” came to a close, the air remained electric with the sounds of Wagner’s apocalyptic horns and the swirling raptures of the Rhine. Camps came away divided into those either outraged or captivated by director Valentin Schwarz‘s reinvention of the Walsung’s messy journey into oblivion. To be {…}