The Early Music Guild, an indispensable part of Seattle’s period-music scene for more than two decades, every once in a while steps back from presenting the best and the brightest musicians from around the world and produces extravaganzas of its own.
To celebrate its 20th anniversary, in 1997, the guild presented a stellar reading of Handel’s “Carmelite Vespers” at St. James Cathedral, with Andrew Parrott leading the large forces. More recently was a weekend of Monteverdi chamber operas.
Category: News
Early Opera in Seattle
A New Opera Company Formed in Upstate New York
Three local opera groups announced Friday that they have merged to form a major new company, called Mercury Opera Rochester, which will launch its inaugural season in the fall of 2005.
For its first season, the company plans to stage three original (and yet to be specified) productions — two smaller, community-style operas in the fall of 2005 and spring of 2006 at venues to be determined later, and a grand operatic performance at the Eastman Theatre in January 2006 that would feature, among other things, the Rochester Philharmonic Orchestra serving as pit orchestra.
Cleveland Opera’s New Season
Singers both new and familiar to Cleveland will perform with Cleveland Opera during its 30th anniversary season starting in the fall.
The season is the first programmed entirely by general director Robert Chumbley.
Ticket Prices Going Up At Wiener Staatsoper
Unter vielen Abonnenten der Wiener Staatsoper herrscht Aufregung. Der Grund: Ein Schreiben des kaufmännischen Geschäftsführers Thomas Platzer, in dem teilweise empfindliche Preiserhöhungen angekündigt werden.
Dresden Celebrates the 20th Anniversary of the Reopening of the Semperoper
Als am 13. Februar 1985 zur Wiedereröffnung der Semperoper die DDR-Nationalhymne erklang, mag die Zeile „Auferstanden aus Ruinen“ zumindest in den Gedanken vieler Zuschauer mitgeschwungen haben. Offiziell wurde der Text damals nicht mehr verwendet.
Revamping Opera Australia
A PROGRESS report on the state of the Victorian Government’s opera review made one thing clear this week: any new company will look nothing like the one that died in 1996.
Victorian Arts Minister Mary Delahunty called interested parties to a meeting on Tuesday to brief them on the findings of a review of opera activities in the state, undertaken by strategic consulting firm LEK Consulting.
Turnover at Chicago
The Lyric Opera has effectively installed a turnstile backstage at the Civic Opera House to facilitate the comings and goings of the singers taking the principal roles of Floria Tosca and Mario Cavaradossi in its revival of the historic Franco Zeffirelli production.
Das Opernglas Interviews Anja Harteros
Als deutsche Sängerin im italienischen Fach Fuß fassen – Anja Harteros gelingt, was heute eher eine Seltenheit ist. Söhnke Martens sprach mit ihr in Hamburg. Ausschnitte aus dem Interview:
Sind Sie musikalisch durch Ihre Familie geprägt?
Nein, überhaupt nicht. In meiner Familie gibt es niemanden, der professionell Musik gemacht hat. Jedes Kind sollte das Hobby ausüben, das ihm Freude bereitete. Zuweilen tagte dann der Familienrat, und wir diskutierten eifrig über unsere Wünsche. Meine Mutter schlug mir das Geigenspiel vor, als ich 8 Jahre alt war. Ich war davon nicht besonders überzeugt. Erst ihre Bemerkung, dass dieses Instrument nicht jeder spielen könne, machte mich neugierig. Es hat mir auch wirklich Spaß gemacht.
This Summer at the Aspen Music Festival
The Aspen Music Festival and School will delve into the music of autobiography in its 2005 summer season.
The season, under the theme of “Self-Portraits,” will highlight composers who have told the stories of their lives in their music. Among the notable works falling under the theme are Haydn’s “Farewell” Symphony, Tchaikovsky’s Symphony No. 6 and a semistaged performance of Strauss’ comic opera “Intermezzo.” Also to be presented are intensely personal works by Elgar, Mahler, Berg and Shostakovich.
As If You Were There
When the newly refurbished Royal Opera House reopened in December 1999, the great and the good found themselves trapped in their seats for a great slab of unstaged Wagner in German, with no introduction and no escape. Tony Blair, who was seated just in front of me, was clearly finding it hard-going; but to get out, he would have had to clamber over most of the royal family who, given the chance, might have beaten him to the exit. The Wagner, all agreed, was an unfortunate choice.