The last curtain call at the opera usually goes to the title character, the star of the work just performed. At the end of the Met’s new Boris Godunov, the calls begin with a solo call for the title character, RenÈ Pape as Boris, and conclude with one for the Metropolitan Opera Chorus all by themselves.
On 16 October 2010 in Tucson, Arizona Opera opened it’s 2010-2011
season with an operetta, The Pirates of Penzance, by W. S. Gilbert and
It’s every opera director’s nightmare.
The fall opera season in San Francisco has been dealt a wild card — Jerry Springer, The Opera! Not exactly material for SF’s august opera company . . .
The 50th anniversary of the Metropolitan Opera at the Lincoln Center is just a few years away, so, with something less than dispatch, a DVD of the 25th anniversary Gala appears.
An American opera house premieres a new work by a Mexico-born composer, to his own libretto in Spanish based on a film in Italian by an English director about an unlikely friendship the Chilean poet Pablo Neruda found when in exile on a small Italian island.
ENO clearly expect high returns from Jonathan Miller’s La BohËme.
“One of the most beautiful sets I have ever seen,” crows San Francisco Opera general director David Gockley over the airwaves, “directed by Broadway legend Hal Prince.”
Paris OpÈra’s L’Italiana in Algeri had a lot going for it, including a star mezzo in her local debut, so why was I resistant to its merits?