With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Year: 2015
A Chat with Pulitzer Prize Winning Composer Jennifer Higdon
American composer Jennifer Higdon has won many awards for her imaginative music. Her percussion concerto received the 2009 Grammy Award for Best Contemporary Classical Composition.
Death in Venice, Garsington Opera
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
La Rondine Swoops Into St. Louis
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Emmeline a Stunner in Saint Louis
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
Two Women in San Francisco
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Les Troyens in San Francisco
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens ‡ Carthage.
Press Release: Welsh National Opera explores Madness for autumn season
Madness descends upon Welsh National Opera for its autumn 2015 season, with three new productions that will explore human turmoil through some of the finest musical expressions of madness and the human condition.