Henry Purcell’s “Dido and Aeneas” has always left room for discussion in regards to musical content and timeline. However, it is with this openness that Juilliard took the opportunity to mold this opera into what was a remarkably intimate production of English Chamber music that told the heartbreaking story of a hell-bent Queen of Carthage. More specifically, Conductor Avi Stein {…}
“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 Yorgos Lanthimos’s “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 Pedro Almodovar’s masterpiece {…}
One of the events at this year’s “Vicenza in Lirica” was a production of Henry Purcell’s semi-opera “King Arthur,” in collaboration with the Conservatory “A. Pedrollo” of Vicenza, which provided a marvellous opportunity for its students to perform in front of the paying public in the magnificent surroundings of the Teatro Olimpico, the oldest indoor theatre in Europe. OperaWire was {…}
Many Music Festivals rely on remarkable locations to give performances their particular “festive” appeal. The awe-inspiring Arena di Verona, the ancient Aya Irini church in Istanbul, the umbrageous plane trees in Aix-en-Provence, the picnic-enticing gardens of Glyndebourne, the striking castle-fortress of Savonlinna, or the entire picture-postcard-perfect city of Salzburg immediately spring to mind. The medieval town of Girona in Catalonia {…}
“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 Martin Scorcese’s “The {…}
The Ancient Academy of Music has announced the final performance of the three-year Purcell opera cycle, which will feature the composer’s masterwork “Dido and Aeneas” at the Barbican. The performance is set for Tuesday, Oct. 2, 2018, and will feature a sem-staged production of the opera starring Christine Rice as Dido, Ashley Riches as Aeneas, Rowan Pierce as Belina, and {…}
For many, King Arthur is Britain. Deep in the history and literature, he stands as an icon of Britain’s essence – heroic, brave, mighty, magnanimous – the pinnacle of the good, even if flawed as even the noblest are. Henry Purcell’s opera, a.k.a. semi-opera, “King Arthur,” set to English poet John Dryden’s libretto, incorporates some of these characteristics while it {…}
Henry Purcell’s “King Arthur” arrives at the Berlin Staatsoper on Sunday Jan. 15 in a run that has already reportedly sold out. According to the official website of the Staatsoper, all five runs of the production have no remaining tickets for those interested in witnessing the performance. The opera, written by librettist John Dryden, is rather unique in its construction. {…}