News round-up - 2 July 2010
2 July 2010
Ben Heppner(Photo: Kristin Hoebermann)
BOSTON LYRIC OPERA'S NEW MUSIC DIRECTOR
David Angus to fill position after two-year vacancy
British conductor, David Angus, has been appointed as the new music director of Boston Lyric Opera (BLO), effective September 2010. The position had been vacant for two years, but Angus emerged as the obvious candidate after conducting BLO’s April 2010 production of Idomeneo. As well as winning critical acclaim for these performances, BLO’s General & Artistic Director, Esther Nelson, said that Angus “demonstrated terrific synergy with our Orchestra and Chorus.” He will conduct Britten’s A Midsummer Night’s Dream to close BLO’s 2010-11 Season and thereafter a minimum of two productions per season.
THE DALLAS OPERA HONOURS BEN HEPPNER
Maria Calls Debut Artist of the Year 2010
Tenor Ben Heppner has been named ‘Maria Callas Debut Artist of the Year’ by The Dallas Opera. The award, which is given each season for a particularly remarkable and memorable Company debut, celebrated Heppner’s role as Captain Ahab in the recent world premiere of Moby-Dick. In a note of thanks to The Dallas Opera, Heppner said “I am indebted to Jake Heggie, Gene Scheer and Leonard Foglia for their exceptional work in creating this outstanding new work,” and “Thank you for trusting me with the responsibility for Ahab.”
THE OPERA ORCHESTRA OF NEW YORK RETURNS TO THE STAGE
Two concert productions planned for next season
The Opera Orchestra of New York, which suspended its opera performances in 2008 due to financial difficulties, has announced details of two concert productions next season: Meyerbeer’s L’Africane at Avery Fisher Hall and a double bill of Massanet’s La Navarraise with Mascagni’s Cavalleria Rusticana at Carnegie Hall. The double bill, featuring tenor Roberto Alagna, will be conducted by the Company’s new music director, Alberto Veronesi.
DON GIOVANNI LIVE FROM AIX-EN-PROVENCE FESTIVAL
Ciné lumière, London – 5 July 2010
London’s Ciné lumière will screen Mozart's Don Giovanni on 5 July in a live broadcast from Aix-en-Provence Festival. Conducted by Louis Langrée, with Bo Skovhus playing the title role, this new production by Dmitri Tcherniakov is set outdoors in the stunning historical Théâtre de l'Archevêché.
SOPRANO SERENADES MEDICAL STAFF AFTER LUNG TRANSPLANT
Doctors describe recovery as “stunning”
25-year-old American soprano, Charity Tillemann-Dick, recently gave her first public performance following a double lung transplant and open heart surgery in September. After hearing her rendition of Gershwin’s ‘Someone to Watch Over Me’ and ‘O Mio Babbino Caro’ from Puccini’s Gianni Schicchi, Tilleman-Dick’s doctor described her recovery as “stunning.”
Canadian contralto, Maureen Forrester, dies aged 79
Although best-known for her performances and recordings of German lieder, oratorios and symphonic repertoire, the Canadian contralto Maureen Forrester also enjoyed a considerable reputation for her operatic appearances. These included Erda in Das Rheingold at the Metropolitan Opera (1975) and the Countess in Tchaikovsky's Queen of Spades at La Scala (1990). She died on 16 June 2010, aged 79.
Detlev Glanert's Caligula
1 July 2010
Oehms Classics OC 932 | 2 CDs, 126 mins
Detlev Glanert’s Caligula was given its premiere at the Oper Frankfurt in October 2006 and recorded live for this double CD release by Oehms Classics. With a libretto by Hans-Ulrich Treichel based on Albert Camus’ Absurdist play of the same title, the opera recounts a dark tale that traces the tyrannical Roman emperor’s descent into a state of narcissistic self-loathing.
Glanert’s music is no less striking than his choice of subject matter, employing a postmodern synthesis of styles by turns stark, lyrical and surreal. The result is a compelling theatrical narrative that combines finely judged dramatic pacing with vivid orchestration and supple vocal lines.
Baritone Ashley Holland is outstanding in the title role with an expressive characterization that moves deftly between Caligula’s erratic emotional states. Markus Stentz draws out these contrasts in the score with comparable skill, maintaining balance and clarity throughout despite the vast orchestral forces involved. Occasionally a voice gets lost as the characters move around the stage, but otherwise the live atmosphere (including rapturous audience applause) adds to the overall success of this recording.
"ACE did a pretty good job by adopting equal misery for all"
27 June 2010, Leeds, UK
Last week, Arts Council England (ACE) announced an in-year budget cut of 0.5% for its 880 regularly funded frontline arts organisations.
In real terms, this means recipients of the largest annual grants have suffered the biggest losses. Several major opera companies are at the top of ACE's list, with the Royal Opera House in pole position.
Outside of London (and in sixth place overall) the worst affected organisation is Opera North, which receives roughly 70% of its £15 million annual operating budget in grants from central and local government bodies. £49,577 has been cut from ACE’s 2010-11 grant to Opera North.
Speaking to Opera Now about the short-term impact of this move, Opera North’s General Director, Richard Mantle, said “I think ACE has done a pretty good job of ameliorating the situation by drawing on its reserves and adopting equal misery for all. If ACE had passed on their full 4% cut to us it would have had a big impact because we are heavily reliant on public funds.”
As far as the company’s forthcoming season is concerned, Mantle says that the cuts are unlikely to cause a reduction in planned activities: “We will have to manage as best we can because to make any cuts to at this stage would probably cost more than we would save.”
Looking further into the future, however, Mantle admits that the picture is less clear – particularly given Chancellor George Osborne’s indication that all non-protected departments could be required to reduce their budgets by as much as 25% over the next four years:
“We won’t be able to announce our plans for 2011-12 until we know our funding position, but we already need to plan forward into seasons that are uncertain. This kind of balancing act is built into the DNA of opera companies like ours.”
On top of the cut by ACE, Opera North is also coping with a loss of £50,000 from its annual Leeds City Council grant, yet Mantle remains upbeat:
“We have no historic deficits and a very good record of controlling our expenditure, but costs do keep rising. On the other hand, although sponsorship from the private sector has taken a tumble over the past three years, private philanthropy does not seem to have suffered – in fact it’s currently increasing, with individuals who like what we're doing coming forward to support. The resources of some private foundations are also beginning to grow again, despite what has happened on the stock markets.”
Pointing to the launch last year of Opera North’s Future Fund – a separate charitable trust that supports new initiatives by the company – Mantle is also encouraged by the Tories’ stated desire to reward organisations that take steps to build up an endowment: “We are one of the organisations to have adopted a lead in this respect.”
Meanwhile, with further cuts likely in October’s Comprehensive Spending Review, there is no room for complacency. Mantle says that “a big case now needs to be made by the arts sector to its funding body”, but, he warns “it is not a case that should be made frantically, because that won't win us any friends or support.”
From opera star to popstar?
26 June 2010
Renée Fleming - 'Dark Hope'(Photo: Andrew Eccles)
Renée Fleming as Violetta in 'La traviata'(Photo: Catherine Ashmore)
Renée Fleming’s new album of rock and pop covers, Dark Hope, has entered the Billboard Top 200 chart at No. 151.
This radical departure from the 51-year-old diva’s typical repertoire of opera and lieder was led by her record company, who she says “for 10 years had the idea of pairing a great opera singer with the best songwriters of a generation.”
Although hesitant at first because the project required her to “give away control” to the album’s producer, David Kahne, his enthusiasm gradually won her over: “I just thought, ‘Boy, he’s convincing me to do this, so that means he could probably convince other people to like it!’”
Featuring eleven “great, unusual B-side-type songs” (including Leonard Cohen’s 1984 classic, ‘Hallelujah’), the highly produced studio sound of Dark Hope combines enveloping, multi-layered textures with uncharacteristically low vocals by Fleming.
Commenting on this appraoch, which inspired the album’s title, Fleming says that she was told in the first session: “The less you sing, the more the technology can do something wonderful with your voice.” Use of her low range therefore became key, “because once I get up above the staff I really can’t reproduce any other sound other than a full-bodied, classically trained sound.”
According to Opera Now contributor, Mark Glanville, this admission “implies a compromise of Fleming’s artistic integrity because the natural colour of one’s singing voice should be a reflection of one’s core persona.” Similarly, says Glanville, her confessed reliance on technology to ‘do something wonderful with your voice’, “makes one wonder why anyone should have bothered at all other than for the gimmick of attaching an opera diva’s name to a collection of rock music.”
In contrast, Glanville points to Beniamino Gigli’s interpretation of “the simplistic ‘Papaveri e papere’, which he sang with his own inimitably beautiful voice and thus lent it a quality it would not otherwise have had. If Fleming doesn’t even give us that, why bother?”
- Renée Fleming – New Official Website
- YouTube - Dark Hope trailer
- YouTube - Beniamini Gigli sings 'Papaveri e papere'
National Endowment for the Arts Opera Honors 2010
25 June 2010, Washington, US
The recipients of this year’s National Endowment for the Arts (NEA) Opera Honors were announced today in Washington by NEA Chairman, Rocco Landesman.
The four recipients – soprano Martina Arroya, general director David DiChiera, composer Philip Glass and music director Eve Queler – will be honoured on 22 October in a concert and ceremony at Washington’s John F. Kennedy Center for the Performing Arts.
The event, produced by Washington National Opera, will feature video tributes for each honouree created by OPERA America.
“The recipients of this year’s NEA Opera Honors are four outstanding individuals, who together represent the finest traditions of opera,” said Chairman Landesman. “Without their artistic accomplishments, the world of American opera would be far less extraordinary.”
Each honouree will receive $25,000 in recognition of their significant lifetime contributions to American opera.
The NEA Opera Honors take place annually and are now in their third year. Recipients are nominated by the public and chosen by an NEA-convened panel of opera experts. Past honourees include John Adams, Frank Corsaro, Marilyn Horne, James Levine, Lofti Mansouri, and Leontyne Price.
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