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Reviews, Stage Reviews

Opéra de Lille 2018-19 Review: Rodelinda

https://operawire.com/opera-de-lille-2018-19-review-rodelinda/

Even by usual standards of patently implausible baroque opera plots, “Rodelinda” reaches new heights of Delphic abstruseness. William Hartston in the London Express described Handel’s 19th opera as “everyone wanting to marry or kill everyone else.” Regardless of Hartston’s hyperbole, confusion certainly abounds. A Penelope-esque wife erroneously thinks her husband is dead not once, but twice. The two principal protagonists {…}

Reviews, Stage Reviews

Wexford Festival Opera 2018 Review: Don Pasquale

https://operawire.com/wexford-festival-opera-2018-review-don-pasquale/

The venue for Wexford Opera Festival “Opera Shorts” programme of piano accompanied, well-known operas in reduced form, is undoubtedly better suited to some works than others. Donizetti’s “Don Pasquale” is probably a perfect fit for the small stage erected especially for the festival in White’s Hotel, in which the audience are all relatively close to the stage, and therefore able {…}

News

10 Must See Operas For The Fall Season 2018 [International Edition]

https://operawire.com/10-must-see-operas-for-the-fall-season-2018-international-edition/

The 2018-19 season is about to start with numerous new productions, revivals and world premieres. With a ton of selections to be sure in many of the world’s greatest houses, we whittled it down to the 10 Must-See productions operas that you cannot miss this fall. Medée – Berlin State Opera  Sonya Yoncheva takes on her 50th role in Cherubini’s rarely {…}

Reviews, Stage Reviews

Festival Nits de Clàssica Girona 2018 – Jakub Józef Orliński

https://operawire.com/festival-nits-de-classica-girona-2018-jakub-jozef-orlinski/

Many Music Festivals rely on remarkable locations to give performances their particular “festive” appeal. The awe-inspiring Arena di Verona, the ancient Aya Irini church in Istanbul, the umbrageous plane trees in Aix-en-Provence, the picnic-enticing gardens of Glyndebourne, the striking castle-fortress of Savonlinna, or the entire picture-postcard-perfect city of Salzburg immediately spring to mind. The medieval town of Girona in Catalonia {…}

Interviews, Stage Spotlight

Q & A: Vladimir Stoyanov On His First Verismo Opera & ‘The Queen Of Spades’

https://operawire.com/q-a-vladimir-stoyanov-on-his-first-verismo-opera-the-queen-of-spades/

Bulgarian baritone Vladimir Stoyanov is one of the leading singers of his generation performing in many of the world’s leading companies. He has performed in such theaters as the Plovdiv Opera House, La Scala, the Metropolitan Opera, Berlin State Opera, Vienna State Opera, Zürich Opera, Teatro Real, La Fenice, Teatro Regio, Teatro Massimo, Royal Swedish Opera, and  San Francisco Opera, {…}

Reviews, Stage Reviews

Dell’Arte Opera Ensemble Festival 2018 Review: La Cifra

https://operawire.com/dellarte-opera-ensemble-festival-2018-review-la-cifra/

Mention the name Antonio Salieri and one can’t help but to imagine the rivalry with Mozart portrayed in the film “Amadeus,” creating an image of a composer less-favored or even cast aside. While Salieri did enjoy a successful career during his lifetime, even directing the operas of the Habsburg court, his works have unfortunately not lasted well to the present {…}

Reviews, Stage Reviews

Macerata Opera Festival 2018 Review: The Magic Flute

https://operawire.com/macerata-opera-festival-2018-review-the-magic-flute/

The mass movement of people that is taking place, from poor countries to the wealthier countries of the West, is causing social upheaval and human suffering on scale which has not been seen since the end of the Second World War. Millions of lives have been affected by this mass migratory flow, some positively, some negatively. Earlier this year, in {…}

Reviews, Stage Reviews

Festival della Valle D’Itria 2018 Review: Il Trionfo dell’Onore

https://operawire.com/__trashed/

At the turn of the 18th century, Naples was an important centre for innovation and performance in the opera world. In 1706, Michelangelo Faggioli premiered his opera “La Cilla,” the first of a new form of comedy opera, sung in the Neapolitan dialect, based around a light-hearted plot, focused upon domestic and family affairs, which reflected the bourgeoise values of {…}