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News

Patricia Petibon: Francis Poulenc — Voyage à Paris

anger’s aweigh

By John Yohalem [Parterre Box, 22 October 2014]

It was a night a-tingle with excitement at the Metropolitan Opera House. At least part of this lay in never knowing when vocal protests might explode (verbally) somewhere in the auditorium.

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The Royal Shakespeare Company Releases Music From Its Archive

By Ari Shapiro [NPR, 12 October 2014]

For more than a century, the Royal Shakespeare Company in England has hired composers to write original music for its productions. That sheet music has sat in a vault for decades — until now.

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Joyce DiDonato at the Gowanus Ballroom

Trusting the ensemble — Charles Hazlewood

How playing an instrument benefits your brain

Architecture: The Opera Garnier

Monteverdi to Mozart: 1600-1800

Jacopo_Vignali_-_Orphée_et_Eurydice.jpg

Vienna State Opera live at home

In Bruges

By John Yohalem [16 September 2014, Parterre Box]

They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub. There is a baroque opera revival, spawned by the Boston Early Music Festival (a Monteverdi trilogy arriving next spring) and leading to hi-jinks at the region’s many schools, and to Boston Baroque, which gives Handel’s Agrippina in April. The somewhat traditional Boston Lyric Opera presents everything from Lizzie Borden (last month) to La Traviata (next month), though confining itself to three or four productions a year.

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Elīna Garanča: Meditation

Great Expectations: A New Season Of New Music

By Tom Huizenga [NPR Music]

Musicologist and pianist Charles Rosen once quipped: "The death of classical music is perhaps its oldest continuing tradition." But it's tough to see much gloom when faced with the diversity of premieres and provocative programming around the country in the 2014-2015 season.

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Theatre of war: new-found patriotism meets old-school propaganda in a Russian opera about Crimea

By Amelia Glaser [2 September 2014, The Calvert Journal]

This year, Russia has revelled in grand demonstrations. If Sochi’s opening ceremony is now a distant memory, the annexation of Crimea has offered a theme for mass spectacle to rival those of the Soviet Union. The Night Wolves motorcycle club (Russia’s Hells Angels) recently hosted their annual bike show in Sevastopol in Crimea, dedicated to the defenders of the fatherland from 1941 to 2014. Poems celebrating Russia’s historical struggle for Crimea were interspersed with black-clad “fascists” dancing to soundbites from Barack Obama and Angela Merkel. President Vladimir Putin sent a greeting; Steven Seagal made an appearance. These larger-than-life images of a triumphant fatherland, venerated leader and glorious history suggested a new return to Socialist Realism, albeit with a post-socialist twist.

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The Classical Cloud

By Alex Ross [8 September 2014, The New Yorker]

Recently, while moving my CD collection to new shelving, I struggled with feelings of obsolescence and futility. Why bother with space-devouring, planet-harming plastic objects when so much music can be had at the touch of a trackpad—on Spotify, Pandora, Beats Music, and other streaming services that rain sonic data from the virtual entity known as the Cloud?

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Operalia 2014 winners include Mario Chang, Rachel Willis-Sørensen

By David Ng [31 August 2014, LA Times]

The winners of the 2014 Operalia competition were announced Saturday evening at the conclusion of the finals competition held at the Dorothy Chandler Pavilion. Tenor Mario Chang from Guatemala and soprano Rachel Willis-Sørensen of the U.S. took home the two first-place prizes.

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