Browsing: La Scena Online

REVIEW: LoftOpera’s new production of Rossini’s Otello; INTERVIEWS: with maestro Sean Kelly, director Jon de los Santos, and soprano Cecilia Violetta López. They’ve Done It Again Scrappy, iconoclastic, resourceful, and unaffectedly hip, the LoftOpera company has been doing its own thing since 2015, demonstrating time and again – and with streetwise savvy – how an opera grows in Brooklyn. No rarefied proscenium-framed hothouse required. Just outer-borough grit, plus equal parts determination and talent. Then watch what springs up in a loft on the Gowanus Canal or a repurposed Navy Yard garage; a former brass foundry, a derelict warehouse, or a…

Share:

Hard to know whether to give this confection one star or five. The dominant voice is the mandolin of Chris Thile, an instrument probably unknown to J S Bach who never wrote for it, but used often in modern transcriptions of his works. It sits more comfortably in a Bach score than, say, a tenor sax, but that does not make it remotely authentic. The other instruments at play here are a cello and double bass. What hits the ear from the off are clever, virtuosic trio adaptations of anything from a solo keyboard fugue from the Well-Tempered Clavier to…

Share:

Toronto –  The Canadian Opera Company has brought together an all-Canadian cast, led by renowned Canadian baritone Russell Braun in the title role, for its highly anticipated revival of Harry Somers’ Louis Riel. This new production of Louis Riel is co-produced with the National Arts Centre in anticipation of Canada’s sesquicentennial and runs for seven performances by the COC on April 20, 23, 26, 29, May 2, 5, 13, 2017 at Toronto’s Four Seasons Centre for the Performing Arts. This production will have its premiere in Ottawa by the NAC on June 15 and 17, 2017. Composed by Harry Somers…

Share:

Review: Another Brick in the Wall, l’Opéra de Montréal Viewed: March 13, 2017 At first glance, an adaptation of Pink Floyd’s 1979 concept album The Wall seems an odd choice for part of Montreal’s 375th Anniversary. However, a brief reflection on the genesis of the album brings this choice into better focus. According to rock legend, the story for The Wall came to Pink Floyd bassist and songwriter Roger Waters after a performance in Montreal: after allegedly spitting on a fan at show at the Olympic Stadium in July 1977, Waters turned inward and began to reflect on the excesses…

Share:

Mark Adamo, in conversation with Charles Geyer It started as an idea over drinks. It became a quest to “achieve everything.” In 2002, Larry Edelson, then an assistant opera director completing his graduate degree at NYU, and Mark Adamo, the celebrated American composer-librettist of Little Women (one of the most oft-produced and critically lauded new operas of recent decades), were discussing – take a guess – American opera. Not how great it was, or how imperiled it was; not its funding nor its popularity – but something much more fundamental, and mysterious: Where it came from. The opera field was…

Share:

New York, NY (March 19, 2017) – After a months-long series of competitions at the district, regional, and national levels, a panel of expert judges named six young singers as the winners of the nation’s most prestigious vocal competition, the Metropolitan Opera National Council Auditions. Each winner receives a $15,000 cash prize and the prestige and exposure that come with winning the competition that launched the careers of many of opera’s biggest stars. This year’s winners are Samantha Hankey, 24, mezzo-soprano (Eastern Region: Marshfield, MA); Kirsten MacKinnon, 26, soprano (Middle Atlantic Region: Vancouver, BC, Canada); Aryeh Nussbaum Cohen, 23, countertenor…

Share:

This is one of those treasurable major-label releases, made with the best of intentions, in which everything turns out wrong. Mahler wrote The Song of the Earth for high tenor and alto, singing alternate movements. It can also be sung by tenor and baritone if no alto sounds right. The chief requirement is a tenor who needs to sing high and very loud – a Siegfried kind of voice that can surmount the force of full orchestra. This is as much a competition for two soloists and orchestra as a composition. Jonas Kaufmann tells us he has loved the work…

Share:

Intercultural Conversations – Conversations interculturelles Encouraging theatrical dialogue between the various cultures in Montreal MONTREAL, March 2017 – The Cole Foundation is pleased to announce the latest grant winners for the Intercultural Conversations-Conversations Interculturelles (IC-CI) programme, initiated to encourage greater understanding of Montreal’s cultural mosaic by having audiences enjoy professional plays that present stories and issues of cultural minorities on stage. Focusing on intercultural and multicultural conversation for their community initiatives, over the past eight years the Cole Foundation has cultivated and strengthened a canon of theatrical work incorporating these themes. A number of companies, both established and independent, have…

Share:

I am delighted to announce that Montreal-born Robert Charlebois, a major Quebec star across all francophone cultures, is the CMIM 2017 spokesperson. With a career spanning over 50 years showcasing Montreal on stages worldwide, Robert Charlebois is the perfect ambassador for our competition as this year marks both our 15th anniversary and Montreal’s 375th anniversary. – Christiane LeBlanc, Executive and Artistic Director – “I am thrilled to be joining forces with the CMIM. Hats off to these young virtuoso pianists who have to present two recital rounds before performing the final round with none other than our national treasure the Orchestre symphonique de Montréal. I…

Share:

A Show One Productions Presentation – June 8 at Roy Thomson Hall SOPRANO STAR HIBLA GERZMAVA MAKES CANADIAN DEBUT WITH THE MOSCOW VIRTUOSI & VLADIMIR SPIVAKOV WITH ISRAELI CELLO PRODIGY DANIELLE AKTA “Outstanding portrayals…a crystal-clear coloratura voice…. Singing beautifully…with secure technique and ethereal high notes, she seemed not merely to play, but to become Violetta.” – Raymond Stults, Moscow Times, reviewing soprano Hibla Gerzmava in La Traviata  “Perfectly balanced, dynamically expressive, with a warm swell in the phrasing, and a finish that’s as smooth as silk.” – Colin Eatock, reviewing The Moscow Virtuosi in Toronto      Metropolitan Opera star…

Share:
1 2 3 171