(Credit: Simon Pauly) Bass-baritone Seth Carico will take over the title role in Mozart‘s operatic masterwork “Don Giovanni” at De Nationale Opera in Amsterdam, replacing baritone Domen Križaj. Carico joins a cast that includes Adrian Sâmpetrean in the role of Leporello, Adela Zaharia as Donna Anna, Amanda Majeski as Donna Elvira, Long Long in the role of Don Ottavio, Rafał {…}
On Nov. 1, 2021, the Connecticut Virtuosi Chamber Orchestra, will perform Mozart’s Requiem in memory of those who lost their lives to COVID-19. The showcase will feature artists from the Cathedral Schola Cantorum as well as soprano Louise Fauteux, alto Agnes Vojtko, tenor Oswaldo Iraheta, and the bass Steve Fredericks.. “It is an honor to collaborate with the esteemed Schola {…}
The Orchestra of the Eighteenth Century is set to present a unique Mozart double bill as part of its 40th-anniversary celebration. Starting on Oct. 8, 2021, the company will tour “Die Zauberflöte” and “Die Schauspieldirektorin” under the musical direction of Kenneth Montgomery and the direction of Alexander Oliver. “Die Schauspieldirektorin” will be headlined by Roberta Alexander with Ilse Eerens, Anne Sophie {…}
(Photo: Federico Balestro) Vicenza’s Teatro Olimpico opened its doors for the first time in 1585. Almost 450 years later Palladio’s masterpiece, the first stone-built indoor theatre in the world and now a UNESCO world heritage site, is still a functioning theatre, and the primary venue for Vicenza in Lirica’s annual music festival. The theatre’s design is based on the theatres {…}
(Photo: Francesco Dalla Pozza) Vicenza in Lirica opened last season’s program with a successful performance of Vivaldi’s oratorio “Juditha Triumphans,” a story from the book of Judith contained in the Apocrypha. The city of Bethulia is surrounded by its Assyrian enemies, and its leaders are too frightened to react. Judith, therefore, takes matters into her own hands. She sneaks into {…}
We are all familiar with the aphorism ‘clothing maketh the man‘ and its related parabolic lesson, regardless of the superficiality of the statement and its inherent inadequacies as a didactic phrase that can be really listened to in any meaningful way. The backward iniquitous core of this phrase most properly resonates as eternally problematic when reworked in George Bernard Shaw’s {…}
(Photo: Antonio Curti) The winner of the 2021 Tulio Serafin Opera Singing Competition, Martina Licari, is due to make her role debut as Ismene in two performances of Mozart’s “Mitridate, re di Ponto” at this season’s Vicenza in Lirica, starting 28th August, running until 12th September. Having graduated from the conservatory in Palermo in 2018, the young soprano appeared to {…}
(Credit: https://www.visitlisboa.com/) Portugal’s Teatro Nacional de São Carlos has announced the schedule until January 2022. Here is a look at operatic and vocal performances. Operas The season opens with concert performances of Tchaikovsky‘s “Iolanta.” The opera spotlights Misha Didyk, Evgeny Stavinsky, Guriy Guryev, and Zarina Abaeva in the title role. Graeme Jenkins conducts. Performance Dates: Sep. 29 – Oct. 3, 2021 {…}
(Credits: Opéra de Limoges official website / Vincent Pontet) Opéra de Limoges has announced its 2021-22 season. Here is a look at the operatic and vocal performances. “Goyescas” features Vanessa Goikoetxea, Kévin Amiel, Armando Noguera, and Héloïse Mas. Robert Tuohy conducts. Performance dates: Nov. 7 – 9, 2021 Clémentine Bourgoin, Pierre Lebon, Flannan Obé, and Antoni Sykopoulos perform Olivier Py’s {…}
The Orchestra of the Eighteenth Century is set to celebrate its 40th anniversary this fall. For the purposes of this article, our focus will be mainly on vocal and operatic performances. The ensemble will present “Die Zauberflöte” and “Die Schauspiedirekotrin,” conducted by Kenneth Montgomery. The showcase will present a unique take on the two Mozart works, with Roberta Alexander taking {…}
(Credit: Jean-Louis Fernandez) The Festival d’Aix-en-Provence’s production of “Le Nozze di Figaro” was a visual stunner. Keeping up a brisk pace, it positively fizzed and sparkled as it zipped along, and had the audience roaring with laughter at what was a riotously funny presentation, full of color and bawdy humor. Such was the director Lotte de Beer’s skill in handling {…}