Review: Dizzying Night at the Met with Grigorian's Splendiferous BUTTERFLY in House Debut
Those of us who keep an eye on the comings and goings of singers at major opera houses around the world, have known that Friday’s debutant, Lithuanian soprano Asmik Grigorian, was going to be one to watch. And it was. No worries about whether her voice would translate from Europe’s smaller houses to the Met’s enormous hall: Grigorian may have been singing Puccini’s Cio-Cio-San/Madama Butterfly this time around, but she’s a well-schooled Lady Macbeth and Turandot as well, bringing a notably large voice with her. She survived the Met’s notoriously short rehearsal time for revivals (particularly for the second cast of the season). Lastly, she even made it through the final curveball, when tenor Jonathan Tetelman became ill and standby Chad Shelton had to take over as Pinkerton; he did well considering the circumstances, but he was no match for her.
Review: Met Audience Entranced by DiDonato and McKinny in Heggie-McNally DEAD MAN in House Debut
It’s rather surprising, really, for the audience to embrace a contemporary piece like DEAD MAN WALKING, no matter how easily it falls upon the ears, considering the subject matter. In this Ivo van Hove production, it starts with a rape and double murder in a rather graphic piece of film, the use of video being one of van Hove’s trademarks. It ends with a death by lethal injection, also graphically shown in live video.
Review: October 16 Season Premiere of PETER GRIMES at The Met
One of the momentous events of the first season at the new Metropolitan Opera at Lincoln Center (and there were many) was the new production of Benjamin Britten's PETER GRIMES in 1967. Although it had its Met premiere in 1948 at the old house, it was the Tyrone Guthrie production that cemented its place in the Met repertory. Starring Jon Vickers as its protagonist, it served to introduce his portrayal to a generation relatively new to the opera. For approximately the next twenty years Vickers would play Grimes at most revivals. Since then, there have been others who have played the role-Philip Langridge, Anthony Rolfe Johnson, and Anthony Dean Griffey-and left their mark on this almost mythical role.
Find Out Who Won at the 2022 GRAMMY Awards - All the Winners!
The 64th Annual GRAMMY Awards featured a tribute to Stephen Sondheim, a win for Barlow and Bear's 'Unofficial Bridgerton Musical,' Lady Gaga and Tony Bennett for their 'Love For Sale' Cole Porter duets album, Olivia Rodrigo, and more. Check out the full list of winners now!
Houston Grand Opera Announces Bold New 2022-2023 Season
Houston Grand Opera has announced its 2022–23 season, featuring a new production of Dame Ethel Smyth's rarely-performed masterpiece The Wreckers, the triumphant return of HGO-commissioned mariachi opera El Milagro del Recuerdo, the U.S. premieres of Opéra National de Paris and Royal Opera House's production of Werther and the Palau de les Arts Reina Sofía of Valencia's production of Salome, and beloved HGO classics La traviata, The Marriage of Figaro, and Tosca.
BWW Review: At the Met, EURYDICE Edges Out Orpheus for the Center of Attention in Premiere
Talk about ‘spoiler alerts,’ there was a big one for me early in the opera, EURYDICE, by Matthew Aucoin to a libretto that he and Sarah Ruhl fashioned from her play of the same name, which had its Met premiere last night. Eurydice tells Orpheus “Don’t look at me,” which to me mirrored the scene at the end of the piece in the Underworld when Hades tells him that he can take her back to the land of the living if he doesn’t look back at her…which, of course, he does.
Houston Symphony Celebrates the Season With A BAROQUE CHRISTMAS and VERY MERRY POPS
Continuing on the performance path that began with livestream-only performances over the summer, and expanding to include live audiences beginning in September, the Houston Symphony welcomes the holidays this year with live audiences and livestreaming access to A Baroque Christmas, as well as the yearly holiday favorite, Very Merry POPS.
Houston Grand Opera Presents R. Strauss's SALOME
R. Strauss's powerful psychodrama Salome returns to Houston Grand Opera for the first time in 20 years in a production directed by Francisco Negrin. The revolutionary score reinvents Oscar Wilde's biblical drama of a deeply disturbed princess who has fallen in love with Jokanaan (John the Baptist). After he denies her, she performs the infamous and seductive a?oeDance of the Seven Veilsa?? for King Herod in exchange for John's head.
The Bonfils-Stanton Foundation Artists Training Program Elevates Young Singers
For over 40 years, an unlikely place has been ground zero for the professional development of young singers with their sights set on careers in opera, musical theater and classical music. Central City, Colo., a small mountain town 35 miles west of Denver, is typically known for its mining history and casino resorts. However, during the summer months it becomes a performing arts mecca, with select rising stars traveling to Colorado for the Bonfils-Stanton Foundation Artists Training Program during Central City Opera's annual Festival.
Houston Symphony Announces 2020"21 Season
Houston Symphony Music Director Andrés Orozco-Estrada and CEO/Executive Director John Mangum, holder of the Margaret Alkek Williams Chair, announced the details of the 2020a?"21 season, Orozco-Estrada's seventh as music director. Orozco-Estrada and the Houston Symphony enter the next decade of music-making with works by Beethoven, in honor of his 250th birthday celebration; new music from contemporary composers; Symphony Specials with pianists Lang Lang and Leif Ove Andsnes; solo performances from Concertmaster Yoonshin Song and other Houston Symphony musicians; and a new, three-year Artistic Partnership with legendary violinist Itzhak Perlman.
BWW Review: Dudamel's Baptism by Fire Turns in a Solid, Throbbing OTELLO at the Met
Talk about baptism by fire! That's what Gustavo Dudamel--that wunderkind of the classical conducting world--faced as he reached the podium of the Met for the first time Friday night. Not only was he conducting Verdi's great opera, OTELLO, but he was doing so with a last-minute substitute in the title role. The result: All went well with the Met's production of the masterwork.
Utah Opera Announces 2018-19 Season
Utah Opera Artistic Director Christopher McBeth today announced Utah Opera's 2018-19 season. Featuring two new productions by the company's in-house Production Studios, Utah Opera's 41st season runs from October 2018 to May 2019 and comprises three main-stage productions at Janet Quinney Lawson Capitol Theatre and a semi-staged production at Abravanel Hall.
Utah Opera Announces 2018-19 Season
Utah Opera Artistic Director Christopher McBeth today announced Utah Opera's 2018-19 season. Featuring two new productions by the company's in-house Production Studios, Utah Opera's 41st season runs from October 2018 to May 2019 and comprises three main-stage productions at Janet Quinney Lawson Capitol Theatre and a semi-staged production at Abravanel Hall.
Houston Grand Opera Presents WEST SIDE STORY, NORMA, and More This Spring
Houston Grand Opera presents Bernstein's West Side Story (April 20 - May 6), Bellini's Norma (April 27 - May 11), and return of Cruzar la Cara de la Luna (May 17, 19, 20) at HGO Resilience Theater World's first mariachi opera returns after New York triumph Houston, January 29, 2018 - Houston Grand Opera (HGO) will present the first major American opera house production of Leonard Bernstein ' s landmark musical West Side Story, April 20 - May 6, and Bellini's vocal powerhouse Norma, April 27 - May 11, in the HGO Resil i ence Theater at the George R. Brown Convention Center.