Opera Now is going monthly!
26 July 2011, London, UK
Thanks to the amazing reader response we’ve received recently, Rhinegold is going to publish Opera Now 12 times per year. So, from October 2011, you’ll receive your magazine on a monthly basis – bringing more of the music you love to your door.
The all-new monthly Opera Now will contain more great interviews with major opera stars, more news, reviews, previews and exclusive Opera Now offers than ever before.
What this will mean for my subscription?
There won’t be a break in your subscription. You’ll receive the remaining copies from your current subscription. When we renew you, your subscription will then last for 12 issues. If you pay by credit card or cheque, when you renew, move to Direct Debit and save up to £20 off the cover price!
What will this mean for my Direct Debit?
We have already written to you explain how your Direct Debit will change. If you haven’t received your letter, please call us on 01371 851892 and quote your subscriber number. We can then answer any queries you may have.
Will I receive my magazine on a different date of the month?
We aim to get your magazine to you in the last week of every other month. From now on, we will aim to get your magazine to you in the last week of every month. You will still continue to receive your magazine before it’s available in the shops.
I’ve paid for a one-year subscription, why am I only receiving 6 months of issues?
This is because the magazine is moving to a monthly publication. So, previously 6 issues equalled a year’s subscription. Now, a year’s subscription covers is made up of 12 issues.
We hope you continue to enjoy the world’s best-loved opera magazine,
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London festival celebrates cutting-edge opera
26 July 2011, London, UK
The innovative opera company Tête à Tête is launching its 5th Annual Festival of "creation, invention, innovation, exploration and experimentation" in opera, running from 4 to 21 August in London.
The festival, based at the Riverside Studios in Hammersmith, West London, has become known for its gritty, hardcore, artists-at-work atmosphere, involving hundreds of performers, directors, composers, librettists, designers, lighting designers, singers and instrumentalists.
This year, 30 or so guests include contributions from Britian’s leading companies: Scottish Opera workshops its new piece for toddlers SensoryO; Glyndebourne Youth Opera explores the phenomenon of wind in two world premières by Orlando Gough and Hannah Conway; Welsh National Youth Opera chills the spine with The Sleeper by Michael Symmons Roberts and Stephen Deazley; and Opera North investigates new life with Toby Litt and Emily Hall’s Life Cycle.
Tête à Tête will also present works in development by Robert Fokkens, Michael Zev Gordon and Stephen McNeff, alongside a whole set of Lite Bites, snapshots of short operas and works in progress, performed throughout the Festival.
Operalia 2011 winners announced
26 July 2011, Moscow, Russia
René Barbera(Photo: José Placido Domingo)
Pretty Yende(Photo: José Placido Domingo)
This year’s Operalia competition, one of the most influential of its kind, founded by Plácido Domingo, took place at the Stanislavsky Theatre in Moscow.
Two overall winners emerged at the finals on 24 July: South African-born soprano Pretty Yende and US tenor René Barbera each received US$30,000 First Prize money.
Both winners also walked away with two other prizes apiece, including sharing the Audience Prize, the first time this has happened in the competition’s history
Second Prize was awarded to Olga Busuioc and Kanstantin Shushakov, while Thrid Prize went to Olga Pudova and Jaesig Lee.
Postcard from New Orleans: Bizet's Les Pêcheurs de Perles
14 July 2011, New Orleans, US
New Orleans Opera Association presents Bizet's 'Les Pêcheurs de Perles'
Bistreaux at the Maison Dupuy Hotel
Report by Karyl Charna Lynn
Le Figaro critic summed up Les Pêcheurs de Perles after its world premiere with the observation that "There are no fishermen in the text and no pearls in the music." But that’s not entirely correct. There are gorgeous melodies and achingly beautiful duets and arias in this ill-fated love triangle about friendship, betrayal, honor, duty, jealousy, and vows of chastity; in short, the ingredients for a knock-out night at the opera.
Bizet wrote sweeping impressionistic pieces, creating beautiful musical landscapes, but sans movement. Combined with a weak libretto and one-dimensional characters, this static quality makes it a challenge to infuse with dramatic tension. Directors have dangled 'swimming' pearl fishers from trapezes to great effect, imposed non-stop frenzied dancing, and added supernumeraries or extra characters. The success of such attempts always depend upon the degree of integration between the dramatic action and the opera itself, which in this production were perfectly balanced by director (and conductor), Robert Lyall.
The action unfolded between dusk and dawn on a single day in Ceylon (Sri Lanka) on two planes: stage level for 'reality' and a 'mountain top' (complete with Brahma statue) for the dream-sequences, re-enactments of past relationships, and religious rituals. The temporal progression from bright red sunset to dawn via twilight and a star-filled black sky dissolving into turbulent storm clouds was projected onto a towering screen, partially draped with fishing nets. A temple arch occupied stage right and columns draped with fishing nets stage left. Relevant props appeared and disappeared as the opera progressed.
Dancing played an important role in French opera, and Lyall seamlessly integrated the full troupe of New Orleans Ballet dancers into the action, creating a fluidity of movement throughout the performance which erased the work’s static nature. Especially effective were the dance reenactments of past relationships between Nadir (William Burden) and Zurga (Liam Bonner) in their friendship duet, 'Au fond du temple saint', and Leïla (Lisette Oropesa) and Nadir in her love aria, 'Ton coeur n’a pas compris le mien'.
Rossini said, “voce, voce, voce, that’s what opera is", and indeed voices are especially important in this action-challenged work. Oropesa made a believable Leïla singing with lilting beauty, imbued with sparkle, grace, and power. Burden brought depth and breadth to Nadir with his compelling intensity. You could feel his all-consuming love of Leïla through the sensual lyricism in his tone. Bonner emitted a strong sound as Zurga, marred, unfortunately, by excessive vibrato and lack of nuance to show Zurga’s emotional turmoil. Maestro Lyall kept the tension and music flowing, while maintaining a good pit / stage balance.
CITY STYLE GUIDE
Relive New Orleans' opera history and rub shoulder's with today's visiting divas!
- Inn on Bourbon, 541 Bourbon Street, built on the site of the former French Opera House 1859-1919 with historic photos of the theatre in the lobby.
- Arnaud’s An unforgettable dining experience; the duck is exquisite, and café Brulot a must. | Signature cocktail: French 75. | Special Tip: Ask to tour their Mardi Gras Museum.
- Ralph’s on the Park A must when visiting the New Orleans Museum of Art (NOMA). | Signature cocktail: Blue Bellini.
- Brennan’s Turtle soup is outstanding. | Signature cocktail: Mr. Funk of New Orleans.
- Bistreaux, in the Maison Dupuy Hotel. Ideal for casual lunch or cocktail. Crawfish is superb. | Signature cocktail: Maison Dupuy.
- Muriel’s Great for Creole cuisine.
- Court of Two Sisters Not to be missed is Sunday brunch in the courtyard.
Bel Canto at Caramoor presents Rossini’s Guillaume Tell
13 July 2011, Katonah, US
Daniel Mobbs (Guillaume Tell) and Talise Trevigne (Jemmy)(Photo: Gabe Palacio)
Julianna di Giacomo (Mathilde)(Photo: Gabe Palacio)
Review by Robert Levine
Caramoor’s music director, Will Crutchfield, threw his hat and that of his fine orchestra and chorus into a very small ring by presenting Rossini’s last opera, Guillaume Tell, first heard in Paris in 1829.
The overture was stunningly played from its opening adagio for five cellos through the storm sequence and the fine passages for winds and strings and on to the famous Lone Ranger finale. If there was a greater 12 minutes of music composed in 1829, I’d like to hear it. And throughout the evening, other than a truly embarrassing series of off-stage horn solos in act one, the Orchestra of St Luke’s played like virtuosi, the winds and brass remarkable during the Mathilde-Jemmy-Hedwige trio in the last act and the strings, who have quite a workout throughout, playing with splendid tone at all dynamic levels.
Crutchfield’s tempi were judicious and, at times, generous to some of his less able cast members. Bass-baritone Daniel Mobbs, Caramoor’s primo uomo, sang Tell, and while he may have seemed a bit overparted at times (such as during ‘Sois immobile’, Tell’s plea to his son not to move while he shoots the apple off his head), he was gentle, loving and touching, and he has the stature for the role.
Julianna di Giacomo, singing the role of Mathilde, the Hapsburg princess, turned in a quite remarkable performance, from her opening ‘Sombre foret’, complete with light embellishments and a gorgeous trill through the last act trio. Sadly, her love interest, Arnold, the opera’s tenor lead, could not keep up with her. Granted, almost nobody gets out of this role alive – the famous Irish novelist James Joyce went obsessively through the score and counted “456 Gs, 93 A-flats, 92 As, 54 B-flats, 15 Bs, 19 Cs and 2 C-sharps,” and though he might have been off by a dozen or so notes, you get the point. Tenor Michael Spyres, in addition to sporting the most awkward stage comportment in recent memory, was excellent everywhere except for the Cs and the C sharps, which came out as yelps. The role is heroic-Rossini and he was not, but his valiant effort and smooth singing below those wicked high notes was appreciated.
Two singers new to the scene, mezzo Vanessa Cariddi and soprano Talise Trevigne as Hedwige and Jemmy, respectively, were great discoveries: beautiful, perfectly controlled voices, rich from top to bottom and of ample size, with temperament to boot. Scott Bearden’s huge-voiced baritone Gessler was a truly evil, imposing figure; Caramoor Bel Canto Young Artist bass Jeffrey Beruan sang the smallish role of Melchtal with distinction.
As suggested above, Crutchfield, his orchestra and chorus – the latter with a huge role in this opera – were magnificent, and Crutchfield’s intensity never flagged. The audience loved it, blemishes and all. Tell is not an opera one throws together in a few rehearsals; thought, preparation, decisions as to what stays and what goes make it quite a production. Crutchfield and Rossini expert Philip Gossett, by the way, were on hand before the performance to discuss the decisions and the work itself. A real treat.
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