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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.

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Deficit forces Gotham Chamber Opera to shut

2 October 2015, New York, US

Neal Goren: 'I'm crushed'
Neal Goren: 'I'm crushed'(Photo: Pinnacle Arts Management)

New York’s Gotham Chamber Opera has ceased operations following the discovery of a significant deficit that had not previously been disclosed to the board. All of the company's future performances have been cancelled.

Gotham Chamber Opera president Beatrice Broadwater said: ‘We do not have, nor do we anticipate having, sufficient donations and pledges that would enable continued operations of the company.’

The deficit was discovered by Gotham Chamber Opera’s new executive director, Edward Barnes, who took up his position on 1 June. Barnes succeeded David Bennett, who is now the general director of San Diego Opera.

Within weeks of arriving at Gotham Chamber Opera, Barnes reportedly uncovered invoices and contracted fees that had never been accounted for in the organisation's budget.

Gotham Chamber Opera was founded in 2000 by artistic director Neal Goren and has presented critically acclaimed productions of rarities from the Baroque era to the present in unusual locations across the city, often partnering with other cultural organisations such as the American Museum of Natural History and Metropolitan Museum of Art.

The company was recently awarded a $20,000 grant from the National Endowment for the Arts towards their US stage premiere of Alessandro Stradella’s San Giovanni Battista, due to have taken place in February 2016.

Commenting on the closure, Neal Goren said: ‘I’m crushed.’

Gotham Chamber Opera

Luciano Pavarotti: An 80th anniversary celebration

1 October 2015

To mark the 80th anniversary of the birth of operatic legend Luciano Pavarotti, we've published a special 24-page commemorative issue. Below is an extract from the issue, which is available to buy here

“By the time Luciano Pavarotti died of pancreatic cancer on 6 September 2007, aged 71, he was without doubt, the most famous tenor in the world. In fact, he came to epitomise the species: a larger-than-life, lovable, pasta-guzzling bear with a belly as refulgent as his beard, arms outstretched with a large white handkerchief dangling from one side. The voice was sweet and sunny, poured out in generous measure and seemingly effortless. Throughout the 1980s and 1990s, this became the stereotypical image of the Operatic Tenor, capturing the popular imagination – so popular, in fact, that in his own lifetime, Pavarotti sold an estimated 100 million records and was just as comfortable rubbing cheeks with the likes of Frank Sinatra, Aretha Franklin, Sting and Bono as treading the boards of the Royal Opera House or La Scala with luminaries such as Joan Sutherland and Kiri Te Kanawa.”

In the commemorative issue:

  • Friends and colleagues of Pavarotti – including Sir Antonio Pappano, Bono and Herbert Breslin – pen tributes to the legendary tenor
  • Pavarotti’s most ‘quotable quotes’
  • Benjamin Ivry explores the vital role that conductors played in shaping Pavarotti’s artistry throughout his career
  • Paul Moseley, Managing Director of Decca Classics, tells us about the Pavarotti he knew
  • Mirella Freni, one of the great operatic divas of recent times and close friend of Pavarotti, recounts her memorable Pavarotti moments 
  • We showcase photographs from across Pavarotti’s lifetime, including him with Carreras, Domingo, Frank Sinatra, Dame Joan Sutherland and Sir Georg Solti, as well as him as a young man

£2.95 from | Also available in the October issue of Opera Now

October issue out now!

1 October 2015

We celebrate the life and legacy of Luciano Pavarotti in the first of Rhinegold’s Legends of Music series with a special 24-page commemorative supplement marking the 80th anniversary of his birth; Royal Opera House music director Sir Antonio Pappano speaks to Opera Now about the importance of encouraging directors to take risks and grapple with subtexts in opera; and we take a trip to the studios in Rome to preview Warner Classics’ new recording of Verdi’s Aida. Plus, Michael Tanner examines drama and virtuosity in the operas of Giuseppe Verdi; soprano Magdalena Anna Hofmann prepares for a season packed with Wagner, Dvořák and Reznicek; Kent Leong introduces the opera programme at this year’s Macau International Music Festival; Michael White considers some productions that stretch the definition of opera to breaking point; Opera Now’s international guide to the best live performances this autumn; and your chance to WIN a collectors’ edition of Pavarotti on CD.

  • Buy the print issue here – from £7.00        
  • Buy the digital issue here – just £2.49 
  • Subscribe here 

WNO announces new music director

24 September 2015

Tomáš Hanus
Tomáš Hanus

Welsh National Opera has announced Tomáš Hanus as its new music director. The Czech conductor will take up the position in autumn 2016.

Hanus was music director of the National Theatre Brno, Janácek Opera House from 2007-2009, and regularly conducts the Bayerische Staatsoper. He has conducted at the Dresden Semperoper, Bavarian State Opera Munich, the Royal Danish Opera, the Norwegian National Opera and Teatro Real Madrid.

He made his debut with WNO this July, conducting an orchestral concert in St. David’s Cathedral as part of the Fishguard Festival. His first engagements as music director will be concerts in the autumn and spring of 2016/17; he will make his operatic debut with the company with two productions in summer 2017.

Hanus said: ‘I felt an immediate connection with WNO from the moment we first worked together. They have passion, creativity, talent and professionalism. I am looking forward to building a strong relationship both with the company and with the community and to bringing beautiful music to more and more people. It’s a great privilege for me to work with WNO and David Pountney.’

Carlo Rizzi will take up the new role of conductor laureate with immediate effect. Rizzi was music director of WNO from 1992 to 2001 and again from 2004 to 2008 (during which time he played an important part in bringing the company in to their new home at Wales Millennium Centre).

Rizzi said: ‘For me, this title recognises the achievements and advances we made together during my years as music director and also provides the basis for an on-going collaboration with the company, particularly the orchestra and chorus, which I hold in high regard. I look forward to working alongside the new music director and wish him the same joy and satisfaction that I found and continue to find at WNO.’

WNO chairman Geraint Talfan Davies said: ‘WNO is hugely fortunate in having secured the talents of Tomáš Hanus and Carlo Rizzi for the company. They will both ensure that the company’s incredibly high musical standards will be sustained. With the recent appointment of Leonora Thomson as managing director and the extension of David Pountney’s contract as artistic director, the company can face the future with great confidence.’

Welsh National Opera

San Francisco Opera announces next general director

23 September 2015

Matthew Shilvock
Matthew ShilvockCory Weaver

San Francisco Opera has announced that Matthew Shilvock will succeed David Gockley as general director. He will take up the position (initially on a five-year contract) on 1 August 2016 following Gockley's retirement.

Shilvock said that he planned to continue commissioning new operas and further exploring the potential of streaming. He also said that he looked forward to programming more intimate works in a new 299-seat theatre in the Diane B. Wilsey Center for Opera, which will open this winter. 

The company's associate general director since 2010, Shilvock manages and leads the opera house's departments for music operations, electronic media, education, the San Francisco Opera Center, and rehearsal. He also serves as interim director of development.

Shilvock said: 'I wish to thank the board leadership and search committee for their confidence in offering me the opportunity to be at the helm of this acclaimed international company. It is indeed a humbling invitation, but one I recognise as a great privilege and honor following the legacy of the extraordinary six directors who have led this organisation over its storied history.

'I am committed to ensuring that we remain on the forefront of artistic excellence and innovation. We will bring to this Company the very finest artists and the most compelling productions, creating holistic presentations that move, transform, empower and entertain audiences. San Francisco Opera tells the world’s most powerful stories, and those stories are as relevant today as they ever have been. '

Gockley said of his successor: 'Matthew Shilvock is not only the best choice to succeed me, he is the ideal choice. He possesses a mix of personal qualities that is rare: intelligence, sensitivity, patience, respect for others, gentlemanly demeanor, but firmness when need be. His knowledge of the company is encyclopedic. For every gap in my—and others’—capability, he has filled the hole. I congratulate the San Francisco Opera board of directors for making an inspired choice.'

Born in England, Shilvock decided to become an opera administrator while studying music at Christ Church College, Oxford. He met Gockley through Opera America's fellowship programme, and went on to work with him at the Houston Grand Opera before following him to San Francisco in 2005.

San Francisco Opera

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