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News

Angela Meade, Ainhoa Arteta & Javier Camarena To Be Featured In of ABAO-OLBE 2018-19 Season

https://operawire.com/angela-meade-ainhoa-arteta-javier-camarena-to-be-featured-in-of-abao-olbe-2018-19-season/

The Bilbao Opera has announced its 2018-19 Season featuring five main stage productions and four family-oriented productions. In total, the company will present 9 titles with a total of 46 performances. Main Stage The 67th Season of ABAO-OLBE opens on Oct. 20 with Puccini’s “La Bohème.” Soprano Ainhoa Arteta takes on the role of Mimì with Romanian tenor Teodor Ilincai {…}

Artist of the Week, News

Artist Of The Week: Elaine Alvarez Sings Her First ‘Florencia En El Amazonas’

https://operawire.com/artist-of-the-week-elaine-alvarez-sings-her-first-florencia-en-el-amazonas/

This week, the San Diego Opera will showcase “Florencia en el Amazonas” for the first time in the company’s history. And with it, the company will highlight one of today’s promising young stars, the Cuban-American soprano Elaine Alvarez. The soprano, who came into prominence in 2007 when she made her debut at the Lyric Opera of Chicago, will make her highly {…}

News

Sonya Yoncheva, Valery Gergiev & Gerald Finley To Be Featured At The Philharmonie De Paris’s 2018-19 Season

https://operawire.com/sonya-yoncheva-valery-gergiev-gerald-finley-to-be-featured-at-the-philharmonie-de-pariss-2018-19-season/

The Philharmonie de Paris has announced its 2018-19 season filled with numerous concerts and operatic selections. The season will see a number of international stars and orchestras as guest artists to this important Parisian hall. Here is a look at the vocal highlights. Valery Gergiev and the Mariinsky Orchestra continue their exploration of the Ring Cycle with “Siegfried.” The opera {…}

Reviews, Stage Reviews

Teatro La Fenice Review 2017-18 – La Metamorfosi di Pasquale: Two Solid Leads Can’t Save Mediocre Work By Young Spontini

https://operawire.com/teatro-la-fenice-review-2017-18-la-metamorfosi-di-pasquale-two-solid-leads-cant-save-mediocre-work-by-young-spontini/

In 1802, Gaspare Spontini’s one act farse, “Le Metamorfosi di Pasquale,” was premiered at the Teatro San Moise in Venice to moderate acclaim. It was to be his last work for the Italian stage, as soon after he moved on to Paris and then to Berlin. Unfortunately, along with a number of Spontini’s other works, it was subsequently lost, although {…}

Artist of the Week, News

Artist Of The Week: Juan Diego Florez & Olga Peretyatko To Take Monte-Carlo By Storm In ‘Les Contes d’Hoffmann’

https://operawire.com/artist-of-the-week-juan-diego-florez-olga-peretyatko-to-take-monte-carlo-by-storm-in-les-contes-dhoffmann/

Surprise – we are changing things up a bit for this week’s Artist of the Week. It’s more like Artists of the Week simply because it was impossible to ignore their tantamount importance on this week’s collaboration. Juan Diego Flórez and Olga Peretyatko are two of today’s greatest stars in the opera world and this week both singers will take {…}

On This Day, Special Features

Surveying the Two Distinct Periods of Sesto Bruscantini’s Career

https://operawire.com/surveying-the-two-distinct-periods-of-sesto-bruscantinis-career/

Sesto Bruscantini was a consummate shapeshifter as an opera singer. Born on Dec. 10, 1919, Bruscantini enjoyed a lengthy 45-year career filled with performances at some of the most famous houses on the globe including La Scala, Lyric Opera of Chicago, Rome Opera, Metropolitan Opera, Glyndebourne, the Vienna State Opera, and Salzburg Festival, among others. He was a unique breed {…}

Interviews, Stage Spotlight

Q & A: Countertenor Anthony Roth Costanzo on Pergolesi’s ‘Stabat Mater,’ Handel & Philip Glass

https://operawire.com/q-a-countertenor-anthony-roth-costanzo-on-pergolesis-stabat-mater-handel-philip-glass/

Most countertenors make their careers out of singing traditional baroque repertoire. The voice type, so popular during the art form’s formative years, was extremely popular in its day with the major composers assigning leading roles to the countertenor. But that is no longer the case today, the countertenor is seen more as a novelty than a bonafide fixture in the {…}