(Credit: Royal Opera House/Clive Barda) Soprano Angela Gheorghiu will not be appearing in the title role of Puccini’s opera “Tosca” on March 7, 2020 at the Semperoper Dresden, according to the official press statement on the company’s website. In her stead, audiences will get a chance to see British soprano Emily Magee, who was already scheduled to take on the {…}
The Prague State Opera has announced a cast change for its upcoming production of Beethoven’s “Fidelio.” The company announced that soprano Emily Magee will no longer be appearing in the role of Leonore in January 2020. As a result, soprano Erika Sunnegårdh will takeover the run of January performances. Swedish soprano Sunnegårdh recently performed the role of Regan in Reimann’s {…}
(Credit: Stefan Cohen) The San Francisco Symphony showcased Richard Strauss and Richard Wagner at Davies Symphony Hall under the baton of Australian conductor Simone Young. The opening performance was a remarkable achievement with Stuart Skelton, Emily Magee, and Ain Anger shining in the first Act of Wagner’s “Die Walküre.” Elegance Embodied Young replaced Sir Anthony Pappano who had prior commitments {…}
The Boston Symphony Orchestra has announced its 2019-20 season featuring a number of choral pieces, operatic performances and great singers. For this article we are only putting emphasis on the choral and vocal performances. Andris Nelsons conducts the opening night performance of in a program that includes Poulenc’s Concerto in D minor for two pianos and orchestra, Beethoven’s Fantasy in C {…}
San Francisco Symphony has announced its 2019-20 season, which marks the 25th and final season of Michael Tilson Thomas’ distinguished tenure as Music Director. For the purposes of this article, we will focus primarily on vocal performances. The season will start off with a concert led by Michael Tilson Thomas featuring tenor Nicholas Phan and cellist Oliver Herbert, along with {…}
The Semperoper Dresden has announced its slate for 2019-20, which will include seven new productions to go along with 23 revivals. New Productions Rossini’s “Il Viaggio a Reims” is directed by Laura Scozzi with a cast that includes Elena Gorshunova, Maria Kataeva, Tuuli Takala, Iulia Maria Dan, Taylor Stayton, Edgardo Rocha, Georg Zeppenfeld, Maurizio Muraro, Martin-Jan Nijhof, Christoph Pohl, Tilmann {…}
Richard Strauss’ “Arabella” will be featured on the Vienna State Opera’s live streaming service on Tuesday, Feb. 5, 2019. The showcase will star Wolfgang Bankl, Emily Magee, Chen Reiss, Tomasz Konieczny, and Daniel Behle. Axel Kober will conduct the production directed Sven-Eric Bechtolf. The stream kicks off at 7 p.m. local time and is slated to run until around 10 {…}
We hope that you are set for a great weekend! Here are suggestions for performances to see! Arabella – Wiener Staatsoper, Austria Emily Magee stars in Strauss’ operatic gem alongside Tomasz Konieczny, Daniela Fally, and Chen Reiss. Axel Kober conducts the Vienesse score in Sven-Eric Bechtolf’s classic production. La Gioconda – La Monnaie, Belgium Beatrice Uria-Monzon and Hui He share {…}
The Teatro Comunale di Bologna has announced its 2019 season with 10 productions all year. The Italian company is giving its native repertory most of the stage-time, with a total of seven productions this season; there are two German works and one in English, that will also appear. So let’s dive in and break it down. “Il Trovatore” opens the {…}
This week, four rarely performed works get new releases. Naxos, Dynamic, and Opus Arte are pulling the stops on showcasing some of the greatest works in the repertoire that need more visibility. Here is a look. Le Comte Ory Naxos will release a new production of Rossini’s final comedy. The production from the Malmo Opera stars Leonardo Ferrando in the {…}
Dresden’s Semperoper’s production of “La Forza del Destino” showed how Verdi once again cut a big swathe in subject matter: the idea of fate, “schicksal,” “destino”, destiny, and its power over human emotions and actions. Prize-winning British conductor Mark Wigglesworth led the orchestra through the highs and lows of the tension in such a dialectic, never sacrificing the glories of {…}