Lisette Oropesa, Sabine Devielhe & Dorothea Röschmann Headline L’Orchestre de Paris’ 2019-20 Season

L’Orchestre de Paris has announced its 2019-20 season! For the purposes of this article, we will focus primarily on vocal performances. The season will kick off with a concert led by Karina Canellakis, newly appointed Chief Conductor of the Netherlands Radio Philharmonic Orchestra. Dorothea Röschmann will be featured vocally, performing alongside the orchestra and chorus. The program is set to include {…}

Leo Nucci, Stéphane Degout, Anna Pirozzi Among Major Stars At Opéra De Lyon’s 2018-19 Season

The Opéra de Lyon has recently announced its offerings for the 2018-19 season, which will feature staged productions, concerts, and the Opera Underground series. Here’s a look at what’s on offer for next season. Opera Boito’s “Mefistofele” opens the season with the company’s Music Director Daniele Rustioni leading the musical forces. Evgenia Muraveva takes on the two lead roles of {…}

Opéra de Lyon 2017-18 Review – Don Carlos: Even With An Auto-Da-Fé, Christophe Honoré’s Production Never Catches Fire

“Don Carlos” or “Don Carlo?” In French or Italian? Four acts or five? Three hours or four? Paris, Naples, Milan or Modena version? Pas de deux or pas de nul? Verdi’s longest opera is so full of revisions, rewrites, authorized or impious corrections, it is impossible to nominate a definitive score. The master music dramatist tinkered with this opera for 20 {…}

Opéra de Lyon 2017-18 Review – Macbeth: Ivo van Hove Turns Shakespeare & Verdi Into a “Bonfire of the Vanities” Video Game

Muttering the word “Macbeth” in a theatre is worse than hollering “Free Booze” at an AA meeting. The so-called “Macbeth curse” has existed since Shakespeare’s regicidal highland fling first appeared in 1606. Legend has it that on the opening night Lady Macbeth (played as Elizabethan/Stuart traditions demanded by a teenage boy) took method acting a bit far and dropped dead. Nowadays the {…}

Metropolitan Opera 2016-17 Review – Aida: Conductor Daniele Rustioni Dominates, Leads Riveting Cast In Memorable Performance

I preface this by stating that this review is for the performance on March 31, 2017. I would also like to recognize that this is just one, performance of a seven-performance run. In an ideal situation, I would attend every performance and write a detailed review of the overall work. As it stands, I can only go on my perspective of one performance. Despite being such a familiar opera, {…}