LES CONTES D'HOFFMAN de Offenbach regresa al Liceu de Barcelona el 18 de enero con un elenco compuesto por John Osborn, Ermonela Jaho, Alexander Vinogradov, Adriana González, Olga Pudova, Rocío Pérez, Nino Surguladze, Ginger Costa-Jackson, Marina Viotti, Carol García, Laura Vila, Arturo Chacón- Cruz, Francisco Vas...
Lyric Opera of Kansas City General Director and CEO Deborah Sandler today announced the company's 2020-2021 season. It features four mainstage productions, including The Gershwins' Porgy and Bess and The (R)evolution of Steve Jobs, both of which are being performed on a Lyric Opera of Kansas City stage for the first time. Two all-time favorites known for incomparable melodies - Verdi's beloved La traviata and Bizet's passionate Carmen - round out the extraordinarily diverse season. The Kansas City Symphony Orchestra will accompany all performances at the Kauffman Center for the Performing Arts. Find biographies of the casts and creative teams at Lyric Opera of Kansas City and find high-resolution photos here.
Marina Costa-Jackson was born to sing. She will demonstrate that in her role debut as Tatyana in Seattle Opera's upcoming production of Tchaikovsky's Eugene Onegin. The casting is appropriate, as she has performed in Russia with her sisters, as well as with the late Russian superstar baritone Dmitri Hvorostovsky.
Rhyming a?oeGingera?? with a??Singera?? may be a stretch, but in Ginger Costa-Jackson's case, it might well be appropriate.
For the Costa-Jackson sisters, singing isn't just a passion, it's a family business. Ginger, Marina, and Miriam Costa-Jacksona?"all recent or upcoming performers with Seattle Operaa?"are offering a special, one-night-only concert at McCaw Hall on Nov. 2. Audiences can expect an entertaining mix of opera, Broadway, and Neapolitan hits from these glamorous Sicilian-Americans. Each a rising star in her own right, the singers are especially memorable when performing together.
When stage director Lindy Hume last worked at Seattle Opera, her powerful Rigoletto sparked important #MeToo conversations with a story intended to be devoid of hope. Next up, she's bringing something completely different to McCaw Halla?"a sparkling fairytale that families will fall in love with.
Bizet's Carmen is often labeled as a sexy opera. The leading lady is a woman who sings unabashedly of her appetite for l'amour, cigarette smoke billowing from her lips. And the music some of the most iconic in the art form can't help but get under one's skin; it's that tuneful and seductive. This May, Seattleites will be able to experience this titillating opera for themselves through a new production of Carmen under the baton of Maestro Giacomo Sagripanti, who returns following The Barber of Seville ('17). Renowned British director Paul Curran and production designer Gary McCann will treat audiences to lavish sets and a multitude of stylish factory girls, townsfolk, smugglers, soldiers, and toreadors.
San Diego Opera is the 13th company since 2011 to cast mezzo-soprano Ginger Costa-Jackson in the title role of Bizet's Carmen. Her voice, sultry looks, and sensuous flamenco dancing are perfect for the role. She even manages castanets in perfect rhythm without missing a step. The considerable powers of persuasion she brings to Carmen make it easy to accept that the malleable young Corporal Don Jose would desert his childhood sweetheart, not to mention his loving mother and the army, to be with her and a band of smugglers in a cold and dangerous mountain lair. A less naive man might have realized he couldn't compete for ever with a bold, dashingly handsome matador.
Since 2011 Mezzo-soprano Ginger Costa-Jackson has sung the title role in 12 different productions of Bizet's Carmen. She will star in yet another this month for San Diego Opera. From here it's on to rehearsals for nine performances of Bizet's masterwork at Seattle Opera. Is the singer tiring of Carmen? Not even close. She loves the character's sense of freedom and empowerment, and works with each new director to make her performance even more convincing.
With a mix of new and traditional takes on opera, Seattle Opera unveils a 2019/20 Season that offers something for everyone. Audiences will experience new-to-Seattle productions of Rigoletto, Cinderella, and Eugene Onegin; the company premiere of Charlie Parker's Yardbird; and the return of a beloved classic, La boh me.
Seattle Opera announced today that General Director Aidan Lang will leave the company to become General Director of Welsh National Opera. The third General Director of Seattle Opera, Lang departs at the close of the 2018/19 season following a five-year tenure. Under Lang's leadership, Seattle Opera has: increased its audiences, particularly, young people, created a new civic home for opera at Seattle Center, introduced new chamber opera productions in locations around the city, and made organizational strides toward racial equity.
Bridge Records will issue the first complete recording of Marc Blitzstein's signature creation, the opera The Cradle Will Rock.
Bridge Records is issuing the first complete recording of Marc Blitzstein's signature creation, the opera The Cradle Will Rock. The new recording features Blitzstein's original 1937 orchestrations and was recorded live at Opera Saratoga in July 2017. The performance features a stellar cast including Ginger Costa-Jackson as Moll; Keith Jameson as Harry Druggist; Christopher Burchett as Larry Foreman; Audrey Babcock as Mrs. Mister; and Matt Boehler as Mr. Mister.
On May 12, 2018, Los Angeles Opera presented a searing rendition of RIGOLETTO, Giuseppe Verdi's dark tale of curses and murder. Recently, General Director Placido Domingo said of this work, 'I can think of no opera that better demonstrates the power of deeply emotional music melded with incredibly gripping drama.'
Placido Domingo, LA Opera's Eli and Edythe Broad General Director, has announced final details about the company's spring presentation of Rigoletto, the classic tragedy by Giuseppe Verdi.
The San Diego Opera's 2018-19 season will feature three grand operas at the city's Civic Center and three smaller-scale productions at other venues. Seasoned opera buffs are likely to fill the 3000-seat Civic Center for The Marriage of Figaro, Rigoletto, and Carmen. But elaborate three-hour productions are a hard-sell for inexperienced listeners, many of whom believe that 45-seconds is about right for 'in-depth' news reporting. That's where the opera company's highly successful 'Detour Series' of shorter and more contemporary-feeling performances comes in. The two operas in that series next season are an English adaption of Engelbert Humperdinck's Hansel and Gretel, and Three Decembers, a chamber work by Jake Heggie, one of today's most successful operatic composers. The Detour series and the season conclude with 'One Amazing Night,' a recital devoted largely to Puccini and Verdi.
Seattle Opera steams up McCaw Hall this winter with a comedy about sex: Mozart's Cos fan tutte! In this story, two sisters, Dorabella and Fiordiligi, are adored by their respective fianc s Ferrando and Guglielmo. But, when the two buddies decide to test the sisters' fidelity, the plot takes an unexpected turn: each man disguises himself and begins to woo the other's lover. Soon it becomes clear that everyone's feelings are much more complicated than any of them had thought.
Washington Concert Opera and their Artistic Director, Maestro Antony Walker, are proud to continue their 2017/2018 season of Bel Canto with Donizetti's Maria di Rohan on Sunday, February 18th. The performance will start at 6pm and will take place at Lisner Auditorium on the campus of George Washington University.
Seattle Opera steams up McCaw Hall this winter with a comedy about sex: Mozart's Cos fan tutte! In this story, two sisters, Dorabella and Fiordiligi, are adored by their respective fianc s Ferrando and Guglielmo. But, when the two buddies decide to test the sisters' fidelity, the plot takes an unexpected turn: each man disguises himself and begins to woo the other's lover. Soon it becomes clear that everyone's feelings are much more complicated than any of them had thought.
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