Chicago Opera Theater appoints new director
13 December 2011, Chicago, US
Chicago Opera Theater has appointed Andreas Mitisek as the company’s general director. Mitisek is currently the artistic and general director of Long Beach Opera, and will continue in this position alongside his new appointment.
At LBO, Mitisek has established a reputation for edgy and dynamic productions whilst also doubling the company’s budget and eliminating a longstanding deficit.
Marc Scorca,CEO of Opera America, welcomed the news and said that he expected ‘both organizations and the communities they serve to benefit from shared productions as well as Andreas' dynamic leadership and artistic vision’.
Thomas Allen celebrates 40 years at Covent Garden
13 December 2011, London, UK
Thomas Allen as Alfonso(Photo: Bill Cooper)
Thomas Allen is celebrating the 40th anniversary of his debut at London’s Royal Opera House this month. Between 27 January and 10 February he will give six performances as Alfonso in Jonathan Miller’s classic production of Così fan tutte.
The British baritone has sung more than 50 roles at Covent Garden since his debut as Donald in Britten’s Billy Budd. He is particularly known for his performances as Mozart's Don Giovanni and Don Alfonso.
Allen was made a Knight Bachelor in 1999 and recently became Chancellor of Durham University.
Bartoli takes helm of Salzburg Whitsun Festival
13 December 2011, Salzburg, Austria
Cecilia Bartoli(Photo: Alberto Venzago)
In her first piece of programming as the artistic director of Salzburg Whitsun Festival, Cecilia Bartoli has chosen an Egyptian theme. From 25 to 28 May, the festival will bring together a stellar list of artists to perform works inspired by ‘Cleopatra – the legendary woman of a thousand faces’, including a new production of Handel’s Giulio Cesare in Egitto starring Bartoli herself as Cleopatra opposite Andreas Scholl’s Cesar.
Other highlights include a concert performance of Massenet’s Cléopâtre sung by Sophie Koch, Berlioz’s La Mort de Cléopâtre with Vesselina Kasarova and the Bavarian Radio Symphony Orchestra under John Eliot Gardiner, and a closing concert featuring Anna Netrebko with the orchestra of the Mariinsky Theatre conducted by Valery Gergiev.
Reflecting the festival’s commitment to commissioning new work, Netrebko will also give the world premiere of Kleopatra i zmeja (Cleopatra and the asp) for soprano and orchestra by the Russian composer, Rodion Shchedrin.
Olli Kortekangas' One Night Stand premieres in Helsinki
2 December 2011, Helsinki, Finland
Terttu Iso-Oja (Axe/Momo) in the Cat Club(Photo: Rami Talja)
Review by Karyl Charna Lynn
One Night Stand is a multi-level, quasi-surrealistic portrait of a generation of 20 to 30-year-olds: their aspirations, dreams, fears, and relationships mirror the malaise of a wider social context coloured by loneliness, longing, insecurity, alcohol and drug addiction, violence, suicide, aging, theft, and mental illness.
The action takes place in a 24-hour adventure/dream, alternating between the present and five years in the future, which blurs the line between dreams and reality and underlines how life and times can change dramatically in half a decade. One of the most effective transformations was a café for cat lovers, which goes bankrupt and reopens as a night club offering live transsexual shows with cheap lager.
This edgy exploration of sexuality and gender was carried into the portrayal of the lead character, which alternated between a guy called Axe and a gal called Momo, and required two singers (tenor and soprano) for the role. Depending upon the singer’s gender, the dynamics of relationships (heterosexual or homosexual) also changed along with the tone of the opera.
Unfolding on a stage divided into several sections by aluminum poles, draped with plastic drop cloths onto which images from Axe/Momo’s diary were projected, and supplemented by suggestive props, the action flowed seamlessly from street scenes to cafe/nightclub, a hospital emergency room, library, and even the seashore. A strong Japanese aesthetic influenced a black/white uniformity in costumes and identical black wigs.
Taking such a relevant and insightful libretto about the ills of our time (which could easily stand on its own as a play) and turning it into a successful opera was a challenge which Olli Kortekangas met. His music not only added depth, breadth, and feeling to the opera, but emotional heft to the characters: you really cared what happened to these kids. Drawing inspiration from a variety of musical and operatic genres, he skillfully navigated through a sea of diverse vocal waters, from grand opera arias and dynamic coloratura, Greek Chorus-like recitative (speaking snippets of cell phone conversations) to cabaret, Broadway musicals, tango music, and modern jazz. There were even sprinkles of Mussorgsky and Phillip Glass, and sounds of bongo drums, and saxophone. All was held together with melodies and harmonies based on a classic style with an ascending and descending structure.
This is a 21st century opera that speaks to a 21st century audience in its language and music. It is fast-paced, almost chaotic in places, and so relevant for today’s youth that it promises to bring down the average age of the typical operagoer by 30 years. This is an opera for the future.
Pavarotti auction to raise funds for young tenors
1 December 2011, Paris, France
Works of art and other personal items that belonged to Luciano Pavarotti are being put up for auction in Paris and New York. More than 250 items have been listed, including a 1928 Marc Chagall watercolour and the Panama hat that he wore at his last wedding.
Proceeds from the sales, which are expected to raise up to £1.75m, will be kept by the Luciano Pavarotti Foundation to support talented young tenors. The sale is an initiative of Pavarotti’s second wife and former secretary, Nicoletta Mantovani, who also heads the Foundation.
Pavarotti was buried in his hometown of Modena in 2007, following a career that spanned more than four decades and made him the biggest selling solo classical music artist of all time.
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