It was in 1951 that the Italian director Pier Luigi Pizzi began working in the theatre, and now, incredibly, at the age of 87, and over 65 years later, he is still going strong. Returning to Florence’s Teatro Maggio Musicale for a reprise of a production of Gluck’s “Alceste,” which he originally staged in 2015 at Venice’s La Fenice, Pizzi {…}
Collaboration is a word not used much in these hyper-polarized political times. For arts organizations facing some hard realities, it is becoming a vital part of their future. It was this cultural backdrop that brought Lyric Opera of Chicago together with the famed Joffrey Ballet for the company’s season opener of Gluck’s “Orphée et Eurydice,” seen Wednesday in the run’s {…}
“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 {…}
In an inspired piece of programming the Tiroler Landestheater, Innsbruck paired Strauss’ “Capriccio” with Gluck’s “Orphée et Eurydice,” which were performed over two consecutive evenings. Separated by more than 160 years and in fundamentally different styles, they are nevertheless natural companion pieces. Although ‘Capriccio’ makes both musical and verbal references to Gluck, the connections between the two operas run far {…}