The Met has announced the Week 9 schedule for its Nightly Met Opera Streams, a free series of encore Live in HD presentations streamed on the company website during the coronavirus closure.
Today, the Metropolitan Opera announced its 2020-21 season, the first in which Yannick Nézet-Séguin assumes his full breadth of musical duties as the company's Jeanette Lerman-Neubauer Music Director, conducting six productions. His schedule includes the Met premiere of Jake Heggie's Dead Man Walking, the first contemporary opera conducted by the maestro on the Met stage, as part of his ongoing commitment to opera of our time at the Met, which will expand in the seasons to come.
San Francisco Opera's 2020 Summer SeasonSan Francisco Opera presents a trio of masterworks spanning the 18th century to the present for its 2020 Summer Season at the War Memorial Opera House June 7a?"July 3. In an update announced today, Caroline H. Hume Music Director Designate Eun Sun Kim will conduct Giuseppe Verdi's Ernani replacing James Gaffigan who has withdrawn from the production due to family reasons. The summer season will also include George Frideric Handel's Partenope in Christopher Alden's popular production and the Bay Area premiere of composer Mason Bates' kaleidoscopic exploration of life, love and creativity, The (R)evolution of Steve Jobs.
Perhaps as composer Gioachino Rossini believed, at certain times, life might resemble a comic opera. For opera aficionados in the Twin Cities area, MN Opera at the Ordway Center presents a beloved classic by Rossini--The Barber of Seville. In this story about a rapscallion, yet well to do barber named Figaro created by the 18th century playwright known as Beaumarchais, Rossini added a compelling score to Beaumarchais' play to complement Cesare Sterbini's libretto that brings Figaro to operatic life. The fun loving, well loved barber in Seville features into several popular operas to become some of Rossini's favorites MN Opera transforms the already comic opera into a tour de force production by combining extraordinary singing with a sublime cartoon framework in the tradition of the commedia dell'arte, where masks used by the actors often underscore the action.
Edinburgh International Festival returns for its 73rd year on 2 - 26 August 2019, bringing the best of theatre, music and dance from across the world to Scotland's capital.
With over 20 companies presenting more than 25 events throughout the city, the Fest will once again prove how opera can be fresh, vital, and relevant, exploring contemporary themes of gender roles, LGBTQ rights, toxic masculinity, political satire, global warming, and more.
San Francisco Opera General Director Matthew Shilvock today announced repertory and casting for the Company's 97th Season, opening Friday, September 6, 2019, with a gala performance of Charles Gounod's Romeo and Juliet (Rom o et Juliette) starring tenor Bryan Hymel and soprano Nadine Sierra in Op ra de Monte-Carlo Director Jean-Louis Grinda's production. In keeping with the Company's time-honored tradition, the new season will be inaugurated with San Francisco Opera Guild's elegant, signature benefit and celebration, Opera Ball 2019.
On Saturday, January 12, 2019, the National YoungArts Foundation (YoungArts) will honor prolific choreographer and bold visionary Camille A. Brown (1997 YoungArts Winner in Dance & U.S. Presidential Scholar in the Arts), and singular interdisciplinary designers Simon and Nikolai Haas of The Haas Brothers, with the 2019 Arison Alumni Award and Arison Award, respectively.
San Francisco Opera Center Director Sheri Greenawald today announced the 12 recipients of the 2019 Adler Fellowship. Selected from participants of the Merola Opera Program, the ten singers and two pianist/apprentice coaches begin their fellowships in January 2019. The multi-year performance-oriented residency offers advanced young artists intensive individual training, coaching and professional seminars, as well as a wide range of performance opportunities. Since its inception in 1977, the prestigious fellowship has nurtured the development of more than 180 young artists, introducing many budding stars to the international opera stage and launching active careers throughout the world as performers, production artists, arts professionals and educators.
As both a celebration of the Washington National Opera and a culmination of the John F. Kennedy Center for the Performing Arts' Leonard Bernstein at 100 celebration, last weekend's Opera Gala definitely found success. While the evening had its share of disappointments (Titus Burgess of Unbreakable Kimmy Schmidt fame fell ill and was unable to perform; Patti LuPone, the top-billed artist of the evening, performed only two fairly short numbers) there was an undeniable electricity to the night. Previously, the WNO held an annual ball which, according to Kennedy Center Chairman David Rubenstein, included neither opera nor a ball. Switching the format to one with a formal gala reception, an opera-filled performance, and elegant dinners hosted by Ambassadors and foreign dignitaries proved the Kennedy Center can still pull off some new tricks.
Washington National Opera concludes its 2017-2018 season with the company premiere of Leonard Bernstein's biting satire Candide, running now through May 26, 2018, in the Kennedy Center Opera House.
Washington National Opera concludes its 2017-2018 season with the company premiere of Leonard Bernstein's biting satire Candide, running now through May 26, 2018, in the Kennedy Center Opera House. Check out photos of the production below!
Washington National Opera concludes its 2017-2018 season with the company premiere of Leonard Bernstein's biting satire Candide, running now through May 26, 2018, in the Kennedy Center Opera House. Check out photos of the production below!
Washington National Opera concludes its 2017-2018 season with the company premiere of Leonard Bernstein's biting satire Candide, running now through May 26, 2018, in the Kennedy Center Opera House. Check out photos of the production below!
When you hear the first few notes of the rollicking overture, you know Bernstein is genuflecting hard to Johann Strauss. Yet this is a story in which the principal characters are bayoneted, hanged, maimed, raped, prostituted, ravaged by disease, and enslaved, among other things, a story which, thematically, takes the characters and us right to the edge of the Nietzschean abyss and gives us a good long sobering look into it - not the sort of thing Strauss or Gilbert and Sullivan ever did.