Elizabeth Futral has established herself as one of the major coloratura sopranos in the world today. With her stunning vocalism and vast dramatic range, she has embraced a diverse repertoire that includes Vivaldi, Handel, Mozart, Bellini, Donizetti, Rossini, Verdi, Glass, and Previn.
Mark Adamo’s opera, based on the famous novel by Louisa May Alcott,
contains one extraordinary scene, a model of how to adapt fiction into opera.
British soprano, Elisabeth Meister, is a rare combination of pragmatism, serious intent, personal warmth and infectious energy.
A recent news report on entertainment technology noted that sales of “regular” DVDs had plummeted in recent years, while the newer Blu-Ray format has seen substantial increases.
Appearing on Palm Beach Opera’s website video player General Director
Daniel Biaggi points out among the reasons to attend the first show of the
company’s 2010-2011 season, “fantastic artists whose voices will
blow you away.”
In my July 2009 review of the first revival of Moshe Leiser’s and
Patrice Caurier’s 2005 production of Il barbiere di Siviglia I
commented that the directors, aided by conductor, Antonio Pappano, had
reinvigorated this operatic ‘old friend’, injecting freshness and
spontaneity into familiar material.
Based on performances give between 3 and 5 November 2005 at Philharmonic Hall, Liverpool, the recent release of Mahler’s Seventh Symphony is an excellent addition to the discography of this work.
The Royal Opera at Covent Garden has hit on a way to revitalize a vintage production — hire a fresh cast of virtually unknown singers.
Arms swinging loosely at his side, a relaxed smile and bright eyes conveying
his confident ease, James Gilchrist’s young wanderer bounded nimbly onto
the stage at the Wigmore Hall, radiating and embodying the fresh
optimism of spring, at the start of this technically assured and dramatically
coherent performance of Schubert’s song cycle, Die schˆne