(646) 333-9372Weis’s book constitutes the latest and most comprehensive outcome of the interest already surrounding the figure of Marie Duplessis for quite a number of years. As the title suggests, Marie (or, better, Alphonsine) embodies the rather rare case of a real-life character inspiring not only a major writer’s work, but also what the author himself considers “probably the best loved opera in the world” (p. 1). In the case of an operatic work that has almost completely displaced its literary sources, the interest towards the real “fallen woman” has already produced quite significant fruits, both in English and, most notably, in French.
Stephen Langridge has been appointed Artistic Director of Glyndebourne. Stephen is currently Director for Opera and Drama at Gothenburg Opera, Sweden, a role he has occupied for five years. He will take up his new role at Glyndebourne in spring 2019. . . . pranksomeness
From the University of Illinois Press:
From classic films like Carmen Jones to contemporary works like The Diary of Sally Hemmings and U-Carmen eKhayelitsa, American and South African artists and composers have used opera to reclaim black people's place in history.
Naomi AndrÃ© draws on the experiences of performers and audiences to explore this music's resonance with today's listeners. Interacting with creators and performers, as well as with the works themselves, AndrÃ© reveals how black opera unearths suppressed truths. These truths provoke complex, if uncomfortable, reconsideration of racial, gender, sexual, and other oppressive ideologies. Opera, in turn, operates as a cultural and political force that employs an immense, transformative power to represent or even liberate.
Viewing opera as a fertile site for critical inquiry, political activism, and social change, Black Opera lays the foundation for innovative new approaches to applied scholarship.
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Madness descends upon Welsh National Opera for its autumn 2015 season, with three new productions that will explore human turmoil through some of the finest musical expressions of madness and the human condition.
The season launches WNO’s 70th birthday year which will see the company stage seven new productions over the course of the year — including two world premiÃ¨res — and a classic revival.
This month, Opera Rara embark on back-to-back recording projects — Donizetti’s Le duc d’Albe and Gounod’s La Colombe — with their Artistic Director Sir Mark Elder conducting the HallÃ©. Following last year’s release of Donizetti’s Rita which marked the company’s 50th complete opera recording to date, this is Opera Rara’s second collaboration with the HallÃ©. La Colombe will be released in November while Le duc d’Albe will be available next spring.
By Sean Martinfield [Huffington Post, 2 June 2015]
Mezzo-soprano Isabel Leonard appears with conductor Charles Dutoit and the San Francisco Symphony this week in Ravel's one-act comic opera, L'Heure espagnole. (The Spanish Hour). The program opens with Ravel's brief "morning song," Alborado del gracioso and concludes with Manuel de Falla's Nights in the Gardens of Spain featuring pianist Javier Perianes. The opera (not quite an hour) also features tenors Jean Paul FouchÃ©court and John Mark Ainsley, along with baritones Jean-Luc Ballestra and David Wilson-Johnson. Isabel sings the role of Concepion, a clockmaker's wife with way-too-much time on her hands. And with three potential lovers in the shop - two of them hidden in tall standing clocks - each counting the minutes until her buffoon of a husband returns, Isabel says, "She's hysterical! A woman on the edge of a nervous breakdown."
By K. Young [Classicalite, 31 May 2015]
This summer, On Site Opera (OSO) will present a new production that personifies the company's mission to produce operas in non-traditional locations ideally suited to the stories they tell. This June (9-13), OSO will stage a site-specific production of The Barber of Seville at the opulent Fabbri Mansion (House of the Redeemer) on New York City's Upper East Side.
By Rupert Christiansen [The Telegraph, 29 May 2015]
La BohÃ¨me, Tosca, Madama Butterfly - and oh yes, “the one with ‘Nessun dorma’ in it”, Turandot - make Puccini the world’s most popular opera composer, and one who earns ever more admiration as a musical dramatist and expressive melodist. Is there still some residual snobbery about his genius? Thirty years ago, I remember being shocked to hear William Walton confess in a television interview that in old age, he had come to love Puccini’s music even more than Verdi’s. Now I begin to sympathise.
By Laura Battle [FT, 8 May 2015]
Given the enormous enthusiasm for countertenors and, increasingly, male sopranos that has flourished in recent decades, it is surprising how little attention has been paid to the female vocal range. Of course, the trend has been largely dictated by the range of available repertoire. Opera companies and period ensembles, keen to emulate the sound of 17th- and 18th-century castrati, are now spoilt for choice of high male voices. Over the same period of time, true contraltos, considered by many to mark the lower limits of the female vocal range, appear to have all but disappeared.
The full title of Verdi’s Messa da Requiem per l’anniversario della morte di Manzoni 22 maggio 1874 attests to its origins, but it was the death of Giacomo Rossini on 13th November 1868 that was the initial impetus for Verdi’s desire to compose a Requiem Mass which would honour Rossini, one of the figureheads of Italian cultural magnificence, in a national ceremony which - following the example of Cherubini’s C minor Requiem and Berlioz’s Grande messe des morts - was to be as much a public and political occasion as a religious one. »