On Site Opera Awarded $15,000 Art Works Grant

https://operawire.com/on-site-opera-awarded-15000-art-works-grant/

On Site Opera has received a 15,000 Art Works grants by the National Endowment for the Arts, which approved more than $27 million in grants as part of the Arts Endowment’s first major funding announcement for fiscal year 2019. The grant was received to support the commission of “Stay,” a new, immersive opera composed by John Glover with libretto by {…}

Reviews, Stage Reviews

Royal Opera House 2018-19 Review: Káťa Kabanová

https://operawire.com/royal-opera-house-2018-19-review-kata-kabanova/

Set in a provincial Russian town close by the Volga River, the basis for Janáček’s “Káťa Kabanová” – Alexander Ostrovsky’s play “The Storm” – invites the color palette of a murky staging; a cerulean hue or olive green to mirror the portentous themes that percolate the sometimes dissonant, sometimes harmonious and sinuously changing score. Unlike many opera settings, the visual {…}

Behind the Scenes, Interviews

Interview: How ‘Howards End, America’ Became An Operatic Reality

https://operawire.com/interview-how-howards-end-america-became-an-operatic-reality/

“Howards End, America” is the newest chamber opera from composer Allen Shearer and librettist Claudia Stevens and its world premiere is set for Feb. 22-24, 2019 at Z Space San Francisco. The innovative and experimental Chamber Music company Earplay, in its first fully staged opera production, co-produces it with RealOpera. “Howards End, America” is an adaptation of E. M. Forster’s {…}

Reviews, Stage Reviews

Vienna State Opera 2017-18 Review – Samson et Dalila: Despite Solid Turns From Roberto Alagna and Elina Garanca, Modern Makeover of Classic Bible Story Goes Up In Flames (Literally)

https://operawire.com/vienna-state-opera-2017-18-review-samson-et-dalila-despite-solid-turns-from-roberto-alagan-elina-garanca-modern-makeover-of-classic-bible-story-goes-up-in-flames-literally/

Taking the biblical element out of “Samson et Dalila” makes about as much sense as setting “Madama Butterfly” in Botswana. Typical of many opera directors trained in the theater, Alexandra Liedtke seems to have limited understanding of Saint-Saëns’ music and even less about Lemaire’s libretto. As is often the case when a regisseur feels their genius may be unappreciated, Liedtke chose {…}

IndieOpera

New York Opera Fest 2018 Preview: Find Your Fill of New Opera With Hunter Opera Theater

https://operawire.com/new-york-opera-fest-2018-preview-find-your-fill-of-new-opera-with-hunter-opera-theater/

With the New York Opera Fest 2018 officially underway, OperaWire will be showcasing small previews for each major participant at the festival, as we did during last year’s event. However, we are doing things a bit differently this year and giving the floor directly to each company to speak to you, the reader, directly. Enjoy! In order for opera to {…}

IndieOpera

New York Opera Fest 2018 Announces New Slate Filled With Major World Premieres

https://operawire.com/new-york-opera-fest-2018-announces-new-slate-filled-with-major-world-premieres/

The New York Opera Fest has been announced and it will feature a ton of new productions and performances to behold. The showcase kicks off on May 1, 2018, with an opening night launch at Opera America and runs all the way until June 26. So here is a breakdown of what’s in store for audiences. As has been the {…}

Opera Wiki

Opera Profile: Humperdinck’s Hansel and Gretel

https://operawire.com/opera-profile-humperdincks-hansel-and-gretel/

First premiering at the Hoftheater in Weimar on December 23, 1893, “Hansel and Gretel” was a collaboration between composer Engelbert Humperdinck and his sister, librettist Adelheid Wette. Adapting the libretto from the Brothers Grimm version of the fairy tale, the music draws on popular Germanic folk songs and remains a favorite for companies to produce during the Christmas season. Short {…}

Reviews, Stage Reviews

Metropolitan Opera 2017-18 Review – La Bohème: Angel Blue Triumphs in Truly Engaging Revival of Puccini Classic

https://operawire.com/la-boheme_october-9/

One had to wonder, in the near full-house at a Columbus Day performance of the Metropolitan Opera’s venerable “La Bohème,” how many in the audience didn’t get to Paris this summer. Or perhaps ever? And how perfect to see this “La Bohème” on an unseasonably warm, humid night — that indeed cried out for a café table outside, to watch {…}

Opera Meets Film, Special Features

Opera Meets Film: The Mythical Convergence of ‘Orphée et Eurydice’ & ‘Slumdog Millionaire’

https://operawire.com/opera-meets-film-the-mythical-convergence-of-orphee-et-eurydice-slumdog-millionaire/

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Danny Boyle’s “Slumdog {…}

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On Site Opera Awarded $15,000 Art Works Grant

Royal Opera House 2018-19 Review: Káťa Kabanová

Interview: How ‘Howards End, America’ Became An Operatic Reality

Vienna State Opera 2017-18 Review – Samson et Dalila: Despite Solid Turns From Roberto Alagna and Elina Garanca, Modern Makeover of Classic Bible Story Goes Up In Flames (Literally)

New York Opera Fest 2018 Preview: Find Your Fill of New Opera With Hunter Opera Theater

New York Opera Fest 2018 Announces New Slate Filled With Major World Premieres

Opera Profile: Humperdinck’s Hansel and Gretel

Metropolitan Opera 2017-18 Review – La Bohème: Angel Blue Triumphs in Truly Engaging Revival of Puccini Classic

Opera Meets Film: The Mythical Convergence of ‘Orphée et Eurydice’ & ‘Slumdog Millionaire’