The Teatro La Fenice will continue its live stream series by celebrating Beethoven’s 250th anniversary. On Nov. 27, the company will perform Beethoven’s Ninth Symphony without an audience under the direction of Myung-Whun Chung. The symphony will star soprano Laura Aikin, mezzo-soprano Anke Vondung, tenor Michael Schade, and bass Thomas Johannes Mayer. Marino Moretti will lead la Fenice’s chorus. The {…}
The Teatro la Fenice has announced five streaming concerts for the month of November. As a response to the closures due to COVID-19, the Venice theater will present free concerts from Nov. 14 through 27 on the company’s YouTube page. The series will begin on Nov. 14 with cellist Mario Brunello performing Haydn’s Cello Concert no. 1 alongside the Orchestra {…}
(Credit: MetOpera.org / Anna S / Manfred Baumann) The Vienna State Opera has announced that it will be present 15 live concert performances throughout June. In keeping with social distancing protocols, the concerts will be for a maximum of 100 audience members. All of the performances will be live-streamed via the company’s official platform (available also on Apple TV, Amazon {…}
(Credit: Paul Schirnhofer/DG/Chris Singer) The Musikverein Wien has announced its 2020-21 Season featuring a number of great stars. For this article of the Austrian concert hall, vocal performances have been highlighted. Michael Havlicek joins the Philharmonia Schrammeln for “Schlawi(e)nerisches.” Performance Date: Oct. 6, 2020 Andrés Orozco-Estrada conducts Haydn’s Die Schöpfung. Oratorium with soloists Christiane Karg, Benjamin Bruns, and Florian Boesch. Performance {…}
For the first time since the COVID-19 pandemic shutdown theaters around the world, the Metropolitan Opera has announced not one but two weeks of nightly streams in advance. The next few weeks feature a mix of more recent performances with some classic showcases from decades ago. Here’s the rundown. Monday, May 25 – Berlioz’s La Damnation de Faust Conducted by James {…}
(Credit: HANS VAN DER WOERD) The Orchestre Metropolitan de Montreal has announced its 2020-21 season. For this article we will only include highlight vocal performances. Yannick Nézet-Séguin conducts Mendelssohn’s “Elias” with Lucy Crowe, Karen Cargill, Andrew Staples, and John Relyea. Performance Dates: Dec. 5 & 6, 2020 Simone Young conducts Adrianne Pieczonka in Wagner’s Wesendonck Lieder and Bruckner’s Symphony No. 6. Performance Dates: April 9-10, 2021 {…}
October is at an end and opera season is in full force. This weekend features a plethora of fascinating options across the country, making it truly challenging to single out a few specific performances. And despite the high quality all around, we zeroed in on a few showcases that we feel really rise to the top. Here are our top {…}
(Credit: Metropolitan Opera) The Opéra de Montréal and the Orchestre Métropolitain are set to come together for their first co-production with Beethoven’s “Fidelio.” The concert version of the famed opera, which is set to take place on Oct. 25 and 27 at the Maison Symphonique, will feature maestro Yannick Nézet-Séguin at the podium; the famed conductor was recently awarded a {…}
Victorian Opera has announced its 2020 season. A new production of Richard Strauss’ “Salome,” directed by Cameron Menzies, will be staged at Palais Theatre, St. Kilda. The cast will include soprano Vida Miknevičiūtė, tenor Ian Storey, contralto Liane Keegan, bass-baritone Daniel Sumegi, and tenor James Egglestone. Artistic Director Richard Mills will conduct Orchestra Victoria. “‘Salome’ offers a theatrical experience which {…}
The Opéra de Montréal has announced its 2019-20 season featuring five staged operas and an opera in concert version. The season will open with Tchaïkovsky’s “Eugene Onegin” with real-life couple Etienne Dupuis and Nicole Car as Onegin and Tatiana. They will be accompanied by tenor Owen McCausland, mezzo Carolyn Sproule, bass Denis Sedov, mezzo Christiane Bélanger, with a guest appearance {…}
Of Richard Strauss’ 15 completed operas, his last opus “Capriccio” is arguably the most abstruse. For a start, it isn’t even called an opera but a “Conversation Piece for Music.” Many Strauss scholars are baffled by this highly cerebral, seemingly escapist bagatelle composed in the midst of the mayhem of World War II. It was as if Strauss and librettist {…}