For the first time in 11 years, the Metropolitan Opera has revived what I consider to be one of its greatest productions in my lifetime. Herbert Wernicke’s production of “Die Frau ohne Schatten” is simply one of the most sublime marriages of stage direction and opera in recent Met history. First off, it’s a challenging piece, not only musically, but {…}
(Credit: Ken Howard/Met Opera) The Metropolitan Opera is set to revive Strauss’s “Die Frau ohne Schatten.” The production by Herbert Wernicke, which premiered on Dec. 13, 2001, and was last revived in 2013, will star soprano Elza van den Heever in her Met role debut as the Empress, soprano Lise Lindstrom in her Met role debut as the Dyer’s Wife, {…}
(Photo: Cory Weaver / San Francisco Opera) We need Beethoven. Especially the 9th Symphony with Schiller’s Ode to Joy. “Freude, schöner Götterfunken/Tochter aus Elysium,/Wir betreten feuertrunken,Himmlische/, dein HeiligtumFreude menschen gotterfunken./Oh friends, no more of these sounds!/Let us sing more cheerful songs, More full of joy!/Joy, bright spark of divinity,/Daughter of Elysium,/Fire-inspired we tread Thy sanctuary!/Thy magic power reunites/All that custom {…}
The Metropolitan Opera season is only one week away and with a new season comes anticipated new productions and revivals and will showcase some of the world’s best singers. So without further ado here are OperaWire’s most anticipated productions of the 2024-25 season. Ainadamar As listed in the 10 operas to see this fall, the Osvaldo Golijov is one of {…}
(Photo credit: © Marc Brenner/Royal Opera) N.B. In this performance of “Tosca” Russell Thomas replaced the previously scheduled Yusif Eyvazov, who was indisposed. Entitlement enlightens spectators on the contrasting and yet comparable personas of soprano Floria Tosca and barbaric chief of police Scarpia: spoiled brats forsaking all who block their way. Sways of a dress’s train portray the former’s annexing {…}
On August 23, the Black Leadership Arts Collective (B.L.A.C.) will present an Inaugural Gala. The evening will feature musical favorites at Manhattan School of Music, featuring members of B.L.A.C. and Grammy-nominated pianist Kevin Miller hosted by Terrance McKnight. Soloists will include Russell Thomas, Morris Robinson, Laquita Mitchell, J’Nai Bridges, Kenneth Kellogg, Kenneth Overton, Nicole Heaston, and Lawrence Brownlee. The proceeds {…}
(Photo: Tosca © ROH 2024) One of the more frequent criticisms aimed at opera singers, by those not acquainted in any way with the art form, pertains to what it is, exactly, they do other than sing. In OperaWire’s interview with the Cavaradossi of this production, Russell Thomas, the tenor said of many critics: “it’s a career that everybody who {…}
(Credit: Fay Fox) Content Warning: Please note the following includes some explicit language. American tenor Russell Thomas is now one of the most sought-after tenors of his generation having established his reputation in key lyric roles such as Don Carlo, Manrico in “Il trovatore,” Don Alvaro in “La forza del destino,” and Pollione “Norma.” As an alumnus of the Metropolitan {…}
Classical Pride has announced its five-day festival for Pride 2024. Tenor Nicky Spence and “RuPaul’s Drag Race’s” Monet X Change and Thorgy Thor, among other queens, kick off the celebration with “Classical Drag.” This crossover event features drag performances of arias from “Carmen,” “Turandot,” “Tosca,” and more. Following this, the Fourth Choir, conducted by Nicholas Chalmers presents works by Benjamin {…}
(Credit: Fay Fox) Los Angeles Opera is set to present the world premiere of Joel Thompson’s “Fire and Blue Sky” on June 6, 2024. The showcase will feature Russell Thomas and Deborah Nansteel as the featured soloists for the new song cycle that is written by librettist Imani Tolliver. The work was created for Thomas who is the LA Opera’s {…}
Though the most iconic grand opera in the art form’s canon, Verdi’s “Aïda” shouldn’t challenge a house of Lyric’s caliber too strenuously. The work requires four good-to-great singers, but we expect a top-five American opera house to arrange them. Though “Aïda” lends itself to maximalist stagings, smaller companies pare it down successfully by foregoing equestrian participants, or downshifting parades to {…}