Opera Australia unveils digital broadcast strategy
17 May 2011, Sydney, Australia
Adrian Collette(Photo: Rodger Cummins)
Opera Australia (OA) has unveiled a new digital strategy that builds on the success of the company’s recent cinema screenings.
Screenings in 29 domestic cinemas attracted such a strong response that this number will now be increased to more than 60 locations across Australia and New Zealand – beginning at the end of May with The Marriage of Figaro and Rigoletto. International screenings will take place in the USA, UK, Canada, Spain and Russia from July onwards.
A second new initiative – the company’s own CD and DVD label – was launched last week. Domestic distributionfor this is to be handled by Select Distribution, with Naxos taking responsibility for an additional 60 territories worldwide.
Partnerships with Australia’s ABC network and the high definition channel Brava HDTV have also been confirmed, with TV broadcasts of 17 filmed OA productions expected to begin mid-year across Australia, Europe and North America.
Commenting on these developments, OA Chief Executive, Adrian Collette, said: “It’s exciting to be looking ahead at a bright future for opera and adapting to suit the world in which we live and work. Now, for the cost of a movie ticket or a DVD, people can enjoy the best of Opera Australia’s performances wherever they are – from Devonport to Darwin. Or indeed, Moscow!”
Dallas Opera music director Graeme Jenkins to step down in 2013
9 May 2011, Dallas, US
Conductor, Graeme Jenkins(Photo: The Dallas Opera)
The music director of the Dallas Opera, Graeme Jenkins, is to step down at the end of the 2012-13 season.
Jenkins, who has been with the company since 1994, said that his decision was prompted by the desire to concentrate on his European conducting career.
In his resignation letter to Dallas Opera General Director & CEO, Keith Cerny, Jenkins said that what he has learned “in the pit in Dallas has given me a foundation of repertoire and experience to translate to opera houses in Germany, Denmark, Sweden, Austria and Canada”.
Jenkins will be given the title of ‘Music Director Emeritus’ after moving on from the company in 2013, and confirmed that “I will remain for the rest of my artistic life a goodwill ambassador for the Dallas Opera.”
Chairman of the Dallas Opera, Dr Kern Wildenthal, paid tribute to the contribution made by Jenkins during his tenure, saying that “he created magic, as well as music.”
The 39th Istanbul Music Festival welcomes Renée Fleming
6 May 2011, Istanbul, Turkey
Renée Fleming(Photo: Decca / Andrew Eccles)
The programme for the 39th Istanbul Music Festival has been announced at a press conference overlooking the Bosphorus.
One of this year’s highlights is a concert by Renée Fleming at the city’s spectacular Hagia Eirene Museum, a Byzantine church dating from the 6th Century AD. Her 22 July programme will be accompanied by the Borusan Istanbul Philharmonic Orchestra under Sascha Goetzel.
The theme for the 39th Istanbul Music Festival is “Journeys to Faraway Lands”.
Festival Director, Yeşim Gürer Oymak, said: “Within the framework of this year’s theme, we have asked artists and ensembles to include some specific works as well as new projects. While some of these programmes carry the local motifs of the host culture, the rest narrates the composers’ journeys to different countries and cities, and the faraway lands that were not travelled but yet imagined”
Apart from the Hagia Eirene Museum, festival events will take place at historical sites throughout Istanbul including the Archaeological Museum Courtyard, Enameled Kiosk, Sureyya Opera House, Istanbul Modern Museum, Energy Museum, and Istanbul University Rectorate Building.
The 39th Istanbul Music Festival runs from 4 to 29 July 2011.
Robert Lepage directs Wagner's Die Walküre at the Met
5 May 2011, New York, US
Jonas Kaufmann and Eva-Maria Westbroek as Siegmund and Sieglinde(Photo: Ken Howard / Metropolitan Opera)
Review by Robert Levine
All talk of Robert Lepage’s production of the Ring Cycle at the Met remains about the sets and videos, and there’s no denying their fascination. Storm clouds turn into a brilliant snowstorm, simple planks transform into a dense forest of trees, and later into horses on which the Valkyries ride. Molten rocks, snow-capped mountains, all-consuming flames: it’s all quite stunning. But the problem is that it is also distracting. Instead of getting involved with the music, one ends up wondering what the set will do next. In addition, Lepage has forgotten to actually direct his singers at times, giving them very little to do.
Bryn Terfel’s Wotan is physically as imposing as a Colossus and his dramatic instincts are superb. Jonas Kaufmann as Siegmund pays attention to every nuance, every change in the volatile atmosphere of the first act. The voice is capable of exquisite, sweet singing and powerful outbursts. Eva-Marie Westbroek seems to be holding back as Sieglinde. Hans-Peter König is a wonderfully evil-sounding Hunding. Stephanie Blythe’s Fricka, rolled in on a throne adorned with ram’s horns, almost steals the show, with her authority and grand tone. She actually breaks into tears at one point – the epitome of manipulation – and husband Wotan gives in.
Deborah Voigt, singing her first Brünnhilde, is simply wrong for the part. The voice has lost its warmth, edgy at the top, and the mid-range was never strong.
James Levine, leading the glorious Met Orchestra, has trimmed a few minutes off the first and last act from his last outings with this opera, and the new sweep is welcome, keeping the audience riveted.
Robert Levine’s full review of Die Walküre will appear in our August/September issue.
David Di Chiera’s Cyrano at Florida Grand Opera
3 May 2011, Miami, US
Marion Pop as Cyrano(Photo: Gaston de Cardenas)
Review by Karyl Charna Lynn
It is always risky for a composer to turn a classic story that has survived decades or centuries as a powerful and moving play into an opera. The only justification for taking masterpieces like these is if the music adds another dimension or layer of emotion to the work that words alone did not or could not. This is particularly true with David Di Chiera choosing Cyrano for his first full-length opera, based on Edmond Rostand’s 1897 classic French masterpiece, Cyrano de Bergerac. But Di Chiera proved that he was up to the challenge in his revised version of Cyrano, which premiered on 23 April 2011 at the Florida Grand Opera in Miami, Florida.
With some nipping and tucking, Act II and III have become masterpieces of musical and dramatic integrity that captured the poignancy and tragedy of Cyrano as well as expressing the universal truth that “Beauty is only skin deep,” in a gripping and touching fashion with powerful vocal lines, overarching music, and sweeping melodies. An unabashedly Neo-Romantic score, Puccini-esque in nature, with some Verdi sprinkled on top, it conveys the characters’ emotional turmoil and heartfelt love with the delicate beauty of Butterfly, the blazing power of Turandot and the final heartbreak of La bohème.
The music is at times flowery and majestic, even bordering on bombastic, and other times reflective and heart-wrenching, like when Cyrano sings “Il m’interdit le rêve d’être aimé meme par une laide” (It forbids me the dream to be loved even by the most ugly woman.) Other highpoints were during Act II when Cyrano, hidden in the shadows beneath the balcony, secretly supplied Christian romantic lines to help him express his love to Roxane, while longing for Roxane himself, and the new (self-reflection) aria in Act III that Di Chiera wrote for Christian to express his feelings when he realized that Roxane really loved Cyrano.
The only weak link is the first part of Act I which needs some streamlining and dramatic tension with its large number of characters, and recitative. Director Bernard Uzan (who also wrote the libretto) did a masterful direction job in Acts II and III where the performance is tight, focused, flowing, and involving. He, too, seemed overwhelmed by Act I, adding irrelevant activities like bakers dancing, while pumping cakes and loaves of bread up and down with their arms while twirling around to keep the action flowing.
Di Chiera wrote the two leads with specific singers in mind, a practice common in the 18th and 19th centuries: baritone Marian Pop as Cyrano and soprano Leah Partridge as Roxane. They did not disappoint. Partridge possesses a full, rich voice, captivating in its beauty and grace, although occasionally her tone and intonation sounded forced and strident. Pop’s commanding presence and gallant deportment made a truly heroic Cyrano and his finely nuanced performance expressed his character’s emotional gamut. Sébastien Guèze, as the handsome lover Christian, sang with a ringing, piercing, sensuousness that at times mesmerized, marred only by a coarseness that crept into his voice during the intensely passionate moments. Guèze mustered his finest singing for the new aria delving into his emotional reserves to deliver the goods.
The opera unfolded against imaginative recreations of 17th century France including a pastry shop, Roxane’s balcony, and a French military camp. Maestro Mark Flint led the orchestra with a firm grip and keen understanding of the score (he also did the orchestration) that brought the music’s richness into focus.
FGO’s Cyrano runs until 7 May 2011. The company’s 2011-2012 season opens on 12 November with Federico Moreno Torroba’s zarzuela Luisa Fernanda, followed by Puccini’s La rondine, Verdi’s Rigoletto, and concluding on 12 May 2012 with Gounod’s Roméo & Juliette.
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