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Opera Now provides a unique and all-encompassing perspective on the international opera scene through its lively and colourful mix of news, reviews, interviews, travel articles and commentary.

Read about new productions, festivals, performance previews and world premieres, as well as reviews of all the latest opera CDs, DVDs, books, websites and films.

With our mixture of celebrity interviews, leadership profiles and behind-the-scenes features, you'll appreciate the diversity, passion and dynamism of the people who make opera happen. It is the global platform for opera, reaching out to opera lovers worldwide, but also into the heart of the industry from the grassroots to the glamorous.


Il Divo

Editorial

Ashutosh Khandekar, Editor of Opera Now
(Photo: Benjamin Ealovega)

Ashutosh Khandekar - Editor
From the current issue of Opera Now

Opera Now was launched 25 years ago amid momentous changes around the world. In Europe, 1989 was a year of optimism and new possibilities. It was a time of reunification: the coming together of the fractured world, rent apart by a generation of bitter conflict. Footage of massed crowds tearing down the Berlin Wall became the iconic image that defined the era: in 1989, the Iron Curtain fell, dictatorships collapsed and a divided Europe became one again.

This upheaval from 25 years ago has had a lasting impact on opera. A wealth of ideas, creativity and talent that was locked behind the Iron Curtain suddenly flowed freely again. At English National Opera, for example, through the late 1980s and early 1990s, the ‘Power House’ regime of Peter Jonas, David Pountney and Mark Elder re-established opera’s popular and international credentials with an adventurous cutting-edge, distinctly European approach that continues to resonate with audiences. This was the start of an outward-looking process of ‘globalisation’ that has changed the face of opera: these days, great singers from China and Korea proliferate in European houses; the extraordinary range of musical talent to be found in South Africa and South America is making a major contribution to opera stages around the world; and the arrival of cinema relays has meant that large-scale opera is no longer the preserve of a metropolitan elite.

Another revolutionary innovation dating from 1989, somewhat overlooked at the time, came from a young computer scientist called Tim Berners-Lee. He conceived of a way that computers might communicate with each other in real time, becoming powerful reservoirs of information, to be mined at will. The World Wide Web has changed the way we engage with opera at every level, whether we’re booking tickets online, streaming entire performances over the web, or indeed downloading a digital edition of Opera Now magazine!

What lies in store for opera over the next quarter of a century? Perhaps 3D films of opera might catch on as the technology that goes into making them becomes cheaper; and holograms of complete performances might follow. Short, pithy new operas made for YouTube might proliferate. Opera made for mobile phones might supersede in grand scale productions in the opera house.

On the other hand, there may be something in the notion that the more ‘technologised’ we become as a society, the more we crave real experiences. Many of us spend our lives in front of screens, and the idea that opera should merely be a continuum of our everyday existence is surely wrong. Art, music, theatre, song and dance serve to take us out of the ordinary and into the mind-expanding, emotionally stirring sphere of the imagination. That is why opera as a vibrant, living art form experienced in the theatre will continue to matter.

Opera Now is available as an interactive digital magazine from pocketmags.com, iTunes and GooglePlay – read on your iPad, iPhone, Android device, Kindle Fire or computer. App FREE, single issues £3.99

In The Next Issue of Opera Now: November 2014

RESTORED TO PERFECTION

MARIA CALLAS
Warner Classics has applied the latest remastering technology to their extensive archive of Callas’s great studio recordings to produce the clearest, cleanest sound ever achieved in this classic collection of operatic highlights, released as a 69-CD set. We meet the technical team that has made it all possible.

WHO'S HOT?
We introduce a new generation of top-of-the-range sopranos who are hitting the operatic headlines as well as the high notes.

BATTLE CRY
Austrian soprano Anna Prohaska discusses her latest recording and European recital tour, marking the anniversary of the First World War with an extraordinary programme of songs relating to the horror and pity of war.

RISEN FROM THE ASHES
From the rubble and ruin of bombing, many of Germany’s greatest opera houses now stand revitalised as cultural beacons for the future. Hear their stories of survival, from Hamburg to Dresden and Munich. 

PLUS
> This season's unmissable world premieres in America
> Become an instant expert on Verdi's Il trovatore


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