The Teatro dell’Opera di Roma has announced the third and fourth week of streaming after a successful first two weeks. Week three will begin with Wagner’s “Tristan und Isolde” from the 2016-17 season. The production by Pierre Audi was conducted by Daniele Gatti and starred Andreas Schager and Rachel Nicholls. Streaming Date: March 31, 2020 The ballet “Carmen” from Jiří {…}
(Credit: Monika Rittershaus) “Rossini’s Elisabetta Regina d’Inghilterra” is one of Rossini’s rarely performed works due to its level of difficulty. Yet it has been performed over the years as a diva showcase for the likes of Leyla Gencer, Montserrat Caballe, and Jennifer Larmore, among many others. This week, the work is set to make a rare appearance at the Odyssey {…}
The Grand Theatre Geneve has announced its 2019 season featuring eight productions. Check it our right here. The season opens with Philip Glass and Robert Wilson’s monumental opera “Einstein on the Beach.“ The work is set to be conducted by Titus Engel with Daniele Finzi Pasca directing the work. Performance Dates: Sept. 11-18, 2019 Serena Farnocchia and Elena Stikhina share the {…}
The Odyssey Opera has announced its 2019-20 season which will center on England’s Tudor dynasty. The season will feature six concert and staged operas depicting various moments in the Tudor history. Michael Chioldi takes on the title role in Saint-Saen’s “Henry VIII” in a concert performance exploring the rarely performed score. Also appearing in the cast are Ellie Dehn and Hilary {…}
The Opera Royal del Wallonie-Liege has announced its 2018-19 season featuring five new productions and nine showcases in total. The season contains a number of rarely performed works in addition to repertoire staples featuring many prominent and rising stars. Here is a look. Productions Stefano Vizioli directs Verdi’s “Il Trovatore” with Fabio Sartori in the title role and Violetta Urmana as {…}
“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 {…}