Carnegie Hall today announced that soprano Joélle Harvey must regrettably withdraw from her role as Dalinda in Handel's Ariodante with Harry Bicket and The English Concert scheduled for Sunday, April 30 at 2:00 p.m. in Stern Auditorium / Perelman Stage due to ill health.
On April 28 and 29 at 7:30 PM, guest conductor Jun Märkl leads the Utah Symphony and guest violinist Karen Gomyo in Barber's Violin Concerto. The orchestra will also perform Barber's “Adagio for Strings” and Arnold Schoenberg's arrangement of Brahms' Piano Quartet No. 1. Tickets start at $21 ($15 for students), and can be purchased at www.utahsymphony.org or by calling (801) 533-6683.
See photographs of the 2017 Olivier Awards winners
The winners of the Olivier Awards 2017 with Mastercard, the most prestigious event in the UK theatrical calendar, were announced tonight (Sunday 9 April 2017) at London's Royal Albert Hall. The biggest awards yet, the ceremony was hosted by Jason Manford. The full list of winners is available below and online at OlivierAwards.com
Here's a full list of Olivier Award nominees and winners - updating LIVE
The Temple University Symphony Orchestra and Jazz Band, under the baton of its recently appointed
Today, past winners Denise Gough and Matt Henry announced the nominations for the Olivier Awards 2017 with Mastercard, the most prestigious event in the UK's theatrical calendar. The 2017 awards are set to be the biggest yet, as they make their debut at the Royal Albert Hall on Sunday 9 April.
Music Director Thierry Fischer and President & CEO Paul Meecham today announced the Utah Symphony's 2017-18 season, which includes a Saint-Saens symphony cycle recorded live for the Hyperion label, marking the first recording of the composer's complete symphonies by an American orchestra.
On January 13 and 14 at 7:30 PM, guest conductor Mark Wigglesworth returns to the Abravanel Hall stage to lead the Utah Symphony in a repertoire of classical favorites. Internationally-acclaimed guest pianist Francesco Piemontesi makes his Utah Symphony debut performing Mozart's Piano Concerto No. 27. Maestro Wigglesworth will also conduct a symphonic suite from Henk de Vlieger's orchestral compilation of music from Wagner's Tristan and Isolde.
On January 13 and 14 at 7:30 PM, guest conductor Mark Wigglesworth returns to the Abravanel Hall stage to lead the Utah Symphony in a repertoire of classical favorites. Internationally-acclaimed guest pianist Francesco Piemontesi makes his Utah Symphony debut performing Mozart's Piano Concerto No. 27. Maestro Wigglesworth will also conduct a symphonic suite from Henk de Vlieger's orchestral compilation of music from Wagner's Tristan and Isolde.
On January 13 and 14 at 7:30 PM, guest conductor Mark Wigglesworth returns to the Abravanel Hall stage to lead the Utah Symphony in a repertoire of classical favorites. Internationally-acclaimed guest pianist Francesco Piemontesi makes his Utah Symphony debut performing Mozart's Piano Concerto No. 27. Maestro Wigglesworth will also conduct a symphonic suite from Henk de Vlieger's orchestral compilation of music from Wagner's Tristan and Isolde.
Beautiful, unknowable Lulu - all things to all men, who has 'never pretended to be anything by what men see in me' - is the chameleon-heroine revealed in Berg's musical mirror. But just as she reinvents herself with each new gaze, so the opera itself morphs and shifts with passing time, reflecting back the concerns of each age. A smudgy parable about German economic growth becomes by turns a sharply-drawn feminist critique or a Freudian exploration of pleasure. This week, in a post-truth world crowned by a Trump presidency, Lulu looks like a timely tale of illusion and reality and the danger when you can no longer tell the difference between the two.
To bring fresh new meaning to a play is a virtue, to do it to a musical score is sacrilege. But why? Why shouldn't musicians be as creative as actors? As part of PLAY, the 2016 Arts & Humanities Festival at King's College London, Helios Collective present a reimagined reading of Purcell's Dido & Aeneas as Dido & ….
English National Opera has been having a hard time with Don Giovanni lately. First there was Calixto Bieito's groggy, pastel-coloured nightmare (who could forget the pistachio leather dentist's chair), which paled into adequacy when compared to Rufus Norris's bafflingly unlovely (and just generally baffling) vision that followed. Richard Jones's new production is in no way a failure - there's far too much intelligence here for that, as well as more than one flash of utter brilliance - but it still feels like a show as yet not fully in focus. At his best Jones can make the most startlingly revisionist concept seem like it has always been staring you in face. Here his reading intrigues, compels, but never feels fully rooted in Mozart's music-drama.
David Alden's double Olivier Award-winning production of Jana?ek's first opera Jen?fa returns to the London Coliseum. This 'formidable production' (The Guardian), was first seen in 2006.
The English National Opera has announced its 2016/17 season, showcasing an extraordinary range of work -- from the return of beloved classics to exciting new productions and a world premiere.
As expected, the 40th anniversary Olivier Awards showered trophies on the sensational Gypsy. Imelda Staunton and Lara Pulver's performances and Mark Henderson's lighting were recognised, and the production took Best Musical Revival. But there were surprises elsewhere, with starry shows like Benedict Cumberbatch's Hamlet going home empty-handed, Nicole Kidman losing out in the Best Actress race, and an underdog win for Pat Kinevane and Fishamble's Silent at Soho Theatre - all welcome given concerns that changes to the Oliviers voting process might favour long-running West End shows and/or A-listers Here are some of the night's major hits and misses.
Mark Wigglesworth has resigned as musical director of the English National Opera, 'effective from the end of the current season', the company said in a statement.
The International Opera Awards are pleased to announce the shortlist for this year's Awards. These were selected by the jury chaired by John Allison, editor of Opera magazine and classical music critic with The Daily Telegraph.
THE MAGIC FLUTE is one of the greatest and most popular operas ever written. English National Opera presents a wonderfully theatrical and imaginative staging from Complicite artistic director Simon McBurney where live sound effects and breathtaking animations help bring this captivating tale to life. BroadwayWorld has a first look at the cast onstage below!
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