On April 12, 2019, the Metropolitan Opera resumed it season’s run of Mozart’s “Don Giovanni.” Occupying a rather unique space as a dramma giocoso, the work unfolds the allegorical message through often-comedic methods. The cast and crew of Friday’s performance strongly favored these comedic elements, much to the delight of the audience. Michael Grandage’s production highlights the universal nature of {…}
Tenor Luigi Alva is one of the great Rossini and Mozart interpreters of the mid 20th century. Born in Peru on April 10, 1927, Alva served in the Peruvian Navy before focusing on singing. His opera debut came in 1949 in Lima and in 1953, he headed to Milan where he would make his debut in 1954 at the Teatro {…}
With an excellent cast and fine playing from the orchestra under Conductor Dean Williamson, Arizona Opera presented Wolfgang Amadeus Mozart’s “The Marriage of Figaro” at Phoenix Symphony Hall on April 5, 2019. Moral High Ground Stage Director Tara Faircloth chose to expand upon the amusing situations in Lorenzo da Ponte’s libretto, so that cast members were often running around the {…}
(Credit: Richard Termine / Met Opera) Mozart’s “La Clemenza di Tito” is undeniably one of his greatest operas. The work certainly has its dramatic challenges, but it is hard to look at the score and find one piece that misses the mark. Every single musical number is vibrant, full of life, and unique in its own way. Not even the {…}
On March 31, 2019, the Metropolitan Opera’s National Council Auditions were brought to a thrilling conclusion with their grand finals concert. Hosted by countertenor Anthony Roth Costanzo, nine young finalists took to the Metropolitan’s stage for the first time to share their artistic gifts with the audience. Opening the afternoon’s concert was soprano Meghan Kasanders, singing “Dich, teure Halle’ from {…}
Mozart’s “La Clemenza di Tito” has only had 45 performances to date at the Metropolitan Opera. Compared to other major works by the iconic composer, that number is rather low. The opera actually had its Met premiere on Oct. 18, 1984. It’s history with the company has been marked by a wide range of major stars in the three main {…}
The Handel and Haydn Society will conclude its 2018-19 season with a performance of Mozart’s final masterpiece, “Requiem.” The program is also set to include Mozart’s intensely emotional “Masonic Funeral Music,” Allegri’s “Miserere mei, Deus,” which “captures the profound sadness, weight and power of the Passion story,” and Bach’s motet “Singet dem Herrn.” Featured vocalists will include soprano Joelle Harvey, {…}
Mozart’s operas are among the most complex, but few have quite the reputation as “Così Fan Tutte,” which is often placed under a very critical lens for its rather questionable treatment of women (which is underlined by its very title). But Skylark Opera Theatre Artistic Director Robert Neu doesn’t feel that the opera warrants such a reputation. In fact, he’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 will take a look {…}
Even before the curtain rose on this Los Angeles Opera production of Mozart’s “La Clemenza di Tito” which I saw on March 7th, 2019, I was excited by what I had read in the program booklet. LA Opera Music Director James Conlon’s article, “Clemency, Forgiveness and Love” with its emphasis on Titus’s closing message that “I know everything, absolve everyone {…}
Kiri Te Kanawa is arguably the most renowned artist to come out of New Zealand in the opera world. Born on March 6, 1944, the soprano was born Claire Mary Teresa Rawstron but was adopted as an infant by Thomas Te Kanawa and his wife Nell. In her teens and early 20s, she worked as a pop star and entertainer {…}