Glorious sunshine for Glyndebourne Opera’s Die Meistersinger von N¸rnberg on the eve of Richard Wagner’s birthday.
AndrÈ-Modeste GrÈtry, the greatest opera composer ever to come from Belgium, made his way to Paris in 1767 at the age of 26.
On my travels, I often hear occasional opera-goers complain about having wasted time and money on a production that, on the night, bears no relation to their expectations.
Ukrainian soprano Liudmyla Monastyrska certainly knows how to make the most
of every opportunity.
This substantial book is one of the latest in the Ashgate series of
collected essays in opera studies and draws together articles from a disparate
group of scholarly journals and collected volumes, some recent, some now
difficult to locate.
The Washington National Opera has concluded its 2010-11 season with
Gluck’s 1779 masterpiece IphigÈnie en Tauride, arguably the
great Viennese composer’s greatest achievement and his swan song (if one
does not count that unfortunate flop of 1780, Echo et Narcisse —
and luckily, one hardly ever does).
James MacMillan has reunited with his librettist, the poet Michael Symmons Roberts, to produce his new opera Clemency.
By Leporello’s count (in the “Catalogue aria”), Don
Giovanni tallies over 2,000 sexual exploits.