Hudson Hall to Present R.B. Schlather’s Production of ‘Rodelinda’

Hudson Hall at the historic Hudson Opera House in New York will present Händel’s “Rodelinda” this October. The production, which will be directed by R.B. Schlather, will star soprano Keely Futterer, mezzo-soprano Sun-Ly Pierce, tenor Karim Sulayman, mezzo-soprano Teresa Buchholz, bass-baritone Douglas Williams, and countertenor Brennan Hall. The opera will be presented in a re-orchestration by Schlather and features the {…}

Elena Sancho Pereg, Xavier Sabata & Manel Esteve Headline ‘Carmina Burana’ at Orquesta y Coro Nacionales de España

(Credit: Studioline Photography / Xavier Sabata official website / Ascolta Artists official website) The Orquesta y Coro Nacionales de España has announced that it will perform a version of Carl Orff’s “Carmina Burana” for two pianos and the percussion on Feb. 12-14, 2021. The showcase will be presented by the Coro Nacional, and the percussion section of the Orquesta Nacional {…}

Opera Meets Film: How Joon-Ho Bong’s ‘Parasite’ Develops Ironic Narrative Through Handel’s ‘Rodelinda’

“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 Joon-Ho Bong’s “Parasite.” In reviewing “Parasite,” Indiewire’s David Ehrlich has previously stated that director Joon-Ho Bong is a genre unto himself. This very film starts off as a comedy of sorts as it follows a family of four slowly con themselves into jobs with a wealthier family. But then the film takes a turn into a darker drama that eventually {…}

Opéra de Lille 2018-19 Review: Rodelinda

Even by usual standards of patently implausible baroque opera plots, “Rodelinda” reaches new heights of Delphic abstruseness. William Hartston in the London Express described Handel’s 19th opera as “everyone wanting to marry or kill everyone else.” Regardless of Hartston’s hyperbole, confusion certainly abounds. A Penelope-esque wife erroneously thinks her husband is dead not once, but twice. The two principal protagonists {…}