What are the stakes in “Turandot?” Calaf must answer a riddle or lose his head. Turandot must find out her suitor’s name or she will have to marry him. The people of Peking will have to help their icy princess to do just that or they will all be tortured and killed, in heartbeat, and in one fell swoop. No {…}
The production of “La Fanciulla del West” that has landed in the somewhat unlikely venue called Jazz at Lincoln Centre — but really is the Rose Theater at the Time Warner Centre – would be notable for a number of reasons. It signals the opening of the second season of the reborn New York City Opera. Great news for someone {…}
As is the case with a number of major opera houses around the world, the Royal Opera House, Covent Garden is presenting Puccini’s “La Bohème.” And is often the case with all of these major companies, there are so many performances of this beloved opera, 25 in total spread across the fall and summer, that it can be tough to {…}
Soprano Angela Gheorghiu possesses a warm, plush timbre that is distinctively unique ― one note and it’s apparent it’s Gheorghiu. Also possessing dramatic abilities that rival Hollywood’s most respected actresses and the Romanian soprano has secured a place as one of the most established singers in history. Born on Sept. 7, 1965, Gheorghiu is perhaps most celebrated for her interpretations {…}
“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 Joe Wright’s incredible {…}
“Madama Butterfly”, a perennial favorite with the opera-going public, seems to be, for good or ill, immune to large-scale meddling from directors attempting to impose their own reading on, what is by opera standards, a well-known story. Rarely do productions step outside late 19th/early 20th century Japan, replete with kanzashi hairstyles, colorful kimonos and obi, houses with paper walls adorned {…}
The Opéra de Montréal will open its 38th season with Puccini’s “Tosca.” The first performance takes place on Sept. 16, with subsequent shows on the 19th, 21st, and 23rd, all at 7:30 p.m. All showcases will appear at the Salle Wilfrid-Pelletier at the Place des Arts. The opera will be presented in a co-production with the Cincinnati Opera under the {…}
“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 Marc Forster’s “Quantum {…}
Maria Guleghina and Salvatore Licitra were always great friends and onstage partners. They also celebrated birthdays one year apart. With Guleghina born on August 9 and Licitra on August 10, it is no surprise that we continue to find links between these two great artists and that in some ways, their legacy is joined. Of course, the two had incredible {…}
Giuseppe Di Stefano is one of the great Italian tenors in history. For many, he possessed the most beautiful timbre of any lyric tenor and some fans lament the tenor’s insistence on singing operas that were often darker and heavier than his lyric could seemingly handle. And yet, one of the reasons why Pippo, born on July 24, 1921, was {…}
On Thursday, the San Francisco Opera Guild, in collaboration with San Francisco Opera Association, announced details for Opera Ball 2017 at The Imperial Palace. The event is a gala benefit aimed at celebrating the start of SFO’s 95th Season. The event will take place on Sept. 8, 2017, at the Imperial Palace Pavilion adjacent to the War Memorial Opera House. The {…}