The 17th Bienal of Contemporary Brazilian Music [XVII Bienal de M˙sica Brasileira Contempor‚nea] began on Sunday, Oct. 21, 2007 at the Sala Cecilia Meireles, Rio’s leading concert hall, with a lengthy program divided between six orchestral works, entrusted to the National Symphony Orchestra of the Universidade Federal Fluminense, based in Niteroi, RJ and three works for percussion, interpreted by the Dynamo Percussion Quartet.
Category: Performances
Hamburg’s Tales Told
I recently made a special trip to Hamburg with one real goal in mind: to hear one of my most favorite young singers, bass Kyle Ketelsen in the Staatsoper’s new production of “Tales of Hoffmann.”
The Magic Flute ó English National Opera
Despite rumours to the contrary, English National Opera’s advertising material claims that this 12th revival of Nicholas Hytner’s popular production of ‘ The Magic Flute’ will be the last. Though…
ìApollo e Dafneî ó the English Concert at St. Georges, Bristol.
Someone once called Handelís Italian cantata Apollo e Dafne a ìproto-operaî and itís easy to see why.
The Coronation of Poppea ó English National Opera
For some seasons now, ENO has expressed a commitment to reinforce the role of dance within opera.
Der Freisch¸tz at Oper Köln
Do you remember a moment when a piece, new to you, so engaged you that you immediately wanted to know more. . .or all about it?
Biondi’s Labors Won, or Unearthing The Lost Vivaldi
An expedition against the famed warring women, the Amazons, ranking as Hercules’ ninth labor out the canonic twelve, provided the subject for the libretto by Antonio Salvi (not Giacomo Francesco Bussani, as hitherto misattributed) that Vivaldi set to music in 1723 as his own sixteenth operatic labor.
Opera at the BBC Proms 2007
Glyndebourne Festival Opera’s guest appearance is an annual fixture at the Proms, and this year the work of choice was Verdi’s Macbeth, in a semi-staged performance on July 24th based on Richard Jones’s new production for this year’s Festival.
San Francisco stages triumphant Tannhäuser
At this point in his career David Gockley has no need to prove himself. He did that with awesome success as general director of Houston Grand Opera for 33 years, during which he made that company a front runner both on the American and international opera scenes.
Philip Glass celebrates 70th with compelling new opera
SAN FRANCISCO ó ìMy subject is war and the pity of war, and the poetry is in the pity.î