Opera Philadelphia is set to present “Ne Quittez Pas.” The opera will be directed by James Darrah’s and will be a reimagining of Poulenc’s 1958 monodrama “La voix humaine,” based on a play by Jean Cocteau. The work will be presented at Philadelphia’s Theater of Living Arts with Darrah adding a cabaret-style prologue of Poulenc art songs on texts by {…}
One year after its sold-out world premiere and a successful crowdfunding campaign, Opera Philadelphia will present an encore engagement for “We Shall Not Be Moved,” in a free broadcast as part of the company’s annual Opera on the Mall series at Independence National Historical Park. “We Shall Not Be Moved,” will be presented on Saturday, Sept. 29, at 7:00 p.m {…}
Opera Philadelphia’s second annual season-opening festival is set to launch on Sept. 20, 2018 with the world premiere of “Sky on Swings.” The work, which world premieres on the eve of World Alzheimer’s Day, explores Alzheimer’s disease from the creative team behind O17’s “I Have No Stories to Tell You.” The new chamber opera finds fleeting beauty in memory loss, {…}
Anthony Roth Costanzo leads the world premiere to an innovative showcase entitled “Glass Handel.” Per a press release from Opera Philadelphia ‘”Glass Handel’ is one of two innovative and thought-provoking world premiere productions that highlight O18, the second edition of Opera Philadelphia’s annual season-opening festival.” The new work will see Costanzo collaborate with producer Cath Brittan and avant-garde fashion/art company {…}
Opera Philadelphia has launched a crowdfunding campaign to Bring We Shall Not Be Moved” for its eighth annual “Opera on the Mall” Broadcast series. The opera, which played to sold out audiences in its world premiere, was hailed by critics as a “deeply moving (Washington Post),” “poignant and genre-bending (Wall Street Journal),” “highly polished piece of theater (Philadelphia Inquirer).” With its crowdfunding {…}
It’s a wild weekend around North America with many major companies winding down and others getting started. The New York Opera Fest is in full swing this weekend and you can be sure that there are some major recommendations to be had there. So here is our list of operas to see this weekend. Anna Bolena – Canadian Opera Company {…}
Mezzo-soprano Daniela Mack, who opened Opera Philadelphia’s 2017-2018 season in the title role of the new opera “Elizabeth Cree,” is set to close the season in the title role Bizet’s “Carmen.” The acclaimed mezzo-soprano will star in a new production by Paul Curran, who last helmed Verdi’s “La Traviata” for Philadelphia. Mack and Curran will be accompanied by a cast of rising stars including Evan {…}
Opera America has announced the recipients of the second cycle of Innovation Grants. The grants, which are “generously funded by the Ann and Gordon Getty Foundation,” were launched in 2016 in support companies that have shown tremendous innovation in diverse areas of the art form. The grants total $1.5 million. This year, 20 companies were awarded the prestigious grants. They {…}
The Opera Philadelphia 2017-18 season is set to close with Bizet’s “Carmen.” Mezzo-soprano Daniela Mack, who opened the season in the title role of the new opera “Elizabeth Cree,” returns in the iconic title role. Directed by Paul Curran, who led 2015’s acclaimed “La Traviata,” the new production of “Carmen” will be showcased five times. “’Carmen’ is among the world’s {…}
Opera Philadelphia has announced its 2018-19 season. The season will see the company continue to shape the future of opera. The 2018-2019 season will kick off on September 20-30 with the festival’s second edition, O18, comprising five operatic happenings – two world premieres, two new productions, and a three-part cabaret event – at multiple venues across the city. The season will {…}
Is art merely a form of entertainment or can it serve a greater purpose? Many people believe the latter is true although it’s possible that they are deluding themselves in order to partake in something they enjoy. It’s a question that can be debated forever. It came to mind for me this past week when I attended Lawrence Brownlee’s “Cycles {…}