A major part of the rejuvenation of opera in the 21st century is the cultivation of young singers.
Since his debut at the Metropolitan Opera in 1971, conductor James Levine has come to represent the house’s commitment to artistic excellence — reliable, professional, and immaculately presented.
You can’t keep a good opera buffa down. And Gaetano Donizetti’s Don Pasquale is about as good as opera buffa gets.
Two live camels with trainers in Egyptian garb were stationed in front of Phoenix’s Symphony Hall to publicize the opening of Arizona Opera’s new production of Aida.
An absurd plot has never stood in the way of a good opera. Unfortunately, Judith Weir’s Miss Fortune at the Royal Opera House isn’t much of an opera.
The cinema world has given us “star vehicle,” a term used to describe a movie that may not have the best script or direction but which suits a popular actor’s persona so well the film can fairly be called a successful entertainment.
http://www.operatoday.com/documents/Nine Finalists Named for Metropolitan Opera National Council Auditions.pdf
For an operatic masterpiece The Barber of Seville is surprisingly tricky to do well, it is not one of those pieces which plays itself.
In this stimulating and uplifting performance, The Cardinall’s Musick, led by director Andrew Carwood, continued their comprehensive project to examine the works of one of England’s greatest composers — William Byrd (c.1540—1623).