The Teatro San Carlo has found its Attila for Verdi’s Opera of the same name. Giorgi Manoshvili will take over the role, which Ildar Abdrazakov was originally set to perform. The Georgian bass has performed at the Teatro delle Muse, Teatro dell’Opera di Roma, Israeli Opera, Rossini Opera Festival, Wexford Opera, Teatro Filarmonico, and Teatro San Carlo. He is a {…}
Semperoper Dresden is set to present a concert performance of Verdi’s “Attila” for the first time in the company’s history. The famed Verdi opera will feature Georg Zeppenfeld, Andrzej Dobber, Anna Smirnova, Tomislav Mužek, Timothy Oliver, and Tilmann Rönnebeck, under the baton of Jordi Bernàcer. Zeppenfeld will be making his role debut as the title character while Mužek will take {…}
Photo credit: Prudence Upton Verdi’s “Attila” of 1846 could be characterized as “cabelettismo,” in reference to the quantity it contains of those brisk, strutting, decisive passages (“cabaletti”) that capped off vocal numbers in early 19th century Italian opera. There could be an implication here that the 32 year-old Verdi relied on this device rather too much, and that this prevalence {…}
(Credits: Dario Acosta / © Gregor Hohenberg / Sony Classical / Angela Gheorghiu official website / Michael Cooper / Kasskara/DG / Chris Singer) The Royal Opera House Covent Garden has announced full details of its exciting 2021-22 season, which will star some of the world’s greatest performers. The Royal Opera House Live Cinema Season and digital program will be announced {…}
OperaVision is set to present the Sofia Opera and Ballet’s “Atilla” production. The opera will be streamed on March 19 in Plamen Kartaloff’s production at the historic Tsarevets fortress in Veliko Tarnovo. The cast for the historic 2011 performance included bass Orlin Anastasov in the title role, Radostina Nikolaeva as Odabella, Ventseslav Anastasov as Ezio, Daniel Damyanov as Foresto, Dimitar {…}
The Lyric Opera of Chicago has announced new offerings for its revamped 202-21 season. In a statement, Anthony Freud said, “As we begin the second half of our 2020-21 Season, we are excited to continue to make Lyric programs accessible to audiences everywhere through these creative efforts. We are eager to return to presenting full productions for live audiences at {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a film section or a film in its entirety and highlight 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 Nicholas {…}
(Credit: Michael Cooper) Celebrated American-Canadian soprano Sondra Radvanovsky will return to the stage in a live concert on Sept. 3, 2020 at the Teatro Colón in A Coruña, Spain. The famed soprano will be joined onstage by baritone Carlos Álvarez, tenor Alejandro Roy, and bass Simón Orfila. Radvanovsky’s first live performance after a six-month hiatus will feature different excerpts from {…}
Opera Australia has announced its 2020 Melbourne program, which will include staged operas, concert performances, and musicals. Operas Graeme Murphy will direct an “innovative and visually stunning” new production of Puccini’s “Madama Butterfly.” It will showcase how “the digital screens can be used to enhance the storytelling and opera experience,” says Artistic Director Lyndon Terracini in the press release. Japanese soprano Hiromi Omura {…}
Verdi’s “Attila” had its world premiere on March 17, 1846, and was loved by the public, earning productions all over Italy. However, it waned in the 20th century, falling out of favor and only receiving revivals when used as a vehicle for famed basses who have gravitated toward the complex title role. The opera’s world premiere cast included bass Ignazio {…}
Giuseppe Verdi didn’t think much of political oppressors no matter if they were civilized Habsburg princes with good table manners or arriviste autocrats with one hand on the guillotine and the other in the till. Some of the least attractive characters in his operas ranged from pushy regicidal wives and vengeful Venetian psychopaths to homicidal high priests of Ptah and {…}