Browsing: La Scena Spotlight

REVIEW: of the Berkshire Opera Festival production of Giuseppe’s Verdi’s Rigoletto (August 25 at 1 p.m.; August 28 at 7:30 p.m. and August 31 at 7:30 p.m., at the Colonial Theatre, Pittsfield, Massachusetts). Sex, power, seduction, revenge, and a dazzling lightning storm. Verdi’s gutsy 1851 operatic melodrama, Rigoletto, gets a fascinating, stylish, and unflinchingly close study in the Berkshire Opera Festival’s new production, running through August 31 at the Colonial Theatre in Pittsfield, Massachusetts (viewed here at the August 25 opening). Under director Jonathon Loy (who is also the festival’s co-founder), Verdi’s tale of a deformed court jester who seeks…

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PROFILE/REVIEW: of the 2018 Glimmerglass Festival Season: Silent Night by Kevin Puts and Mark Campbell; West Side Story by Leonard Bernstein, Arthur Laurents and Stephen Sondheim; Cunning Little Vixen by Leoš Janáček; and The Barber of Seville by Gioachino Rossini and Cesare Sterbini. “It’s remarkable how many important things happened in 1918,” observes Glimmerglass Festival artistic and managing director Francesca Zambello, speaking at a recent pre-show audience address in Cooperstown. “The end of World War I. The birth of Leonard Bernstein. And the premiere of this piece” – this last a reference to Igor Stravinsky’s The Soldier’s Tale, which was…

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PREVIEW: of the 2018 dell’Arte Opera Ensemble Summer Festival Season, “Mozart & Salieri,” at New York City’s LaMaMa (66 East 4th Street), August 11 through 26; and INTERVIEWS: with company founder and artistic director, maestro Chris Fecteau, and dell’Arte 2018 creative team members Brittany Goodwin and Catherine O’Shaughnessy. This company is ready to rumble. Call it the Thrilla from Vienna: Wolfgang Amadeus Mozart and Antonio Salieri, that most bruited matchup of 18th Century musical titans, is slated for a redux this month – this time in 21st Century New York, courtesy of the dell’Arte Opera Ensemble. Grab a ringside seat.…

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REVIEW: of the 2018 Bard SummerScape production of Anton Rubinstein’s 1871 opera Demon; and INTERVIEW: with Dr. Leon Botstein (American Symphony Orchestra founder and SummerScape festival artistic director). A warning to all princes of the Caucasus – lock up your daughters! The devil is on the prowl, and he’s feeling amorous. Russian composer Anton Rubinstein’s 1871 opera, Demon, weaves a fascinating yarn of ultimate forbidden love. Based on an earlier, censored poem by Russian poetic genius Mikhail Lermontov, a demon (depicted as the very model of the proud, lonely, passionate Byronic tragic hero) finds himself smitten by the beauty of…

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REVIEW/PROFILE: of the Opera Saratoga 2018 mainstage production season: Franz Lehar’s The Merry Widow, David T. Little’s and Royce Vavrek’s Vinkensport, Gareth Williams’ and Anna Chatterton’s Rocking Horse Winner, and Gian Carlo Menotti’s The Consul; at the Spa Little Theater, Saratoga Springs, New York, through July 15. You’ve still got all of August for those good pulpy beach reads. Why not set aside a bit of July to savor a different delectus of juicy plotlines during the all too brief lyric holiday afforded by Opera Saratoga’s summer 2018 season, running only through July 15? This year’s programming is (almost) completely…

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La Scena Musicale’s April/May issue continues in a bilingual format and is a special issue on Voice. The cover interview is with American/Canadian soprano Sondra Radvanovsky who will portray Donizetti’s Anna Bolena at the Canadian Opera Company in May. Download/Téléchargez PDF (see bottom of post) Contents 8 Éditorial 10 Nouvelles 12 Lorraine Vaillancourt 15 Spring Festivals Printemps 8 Éditorial 10 Nouvelles 12 Lorraine Vaillancourt 15 Spring Festivals Printemps 18 Festival Classica 20 Saisons Russes / Global Leadership Program 22 Angela Hewitt 24 Looking at the stars 26 Exposition Réflexion 28 Sondra Radvanovsky 34 The Overcoat 36 Carmina Burina 38 Valentins chantants 40 Kiran Ahluwalia /…

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Download/Téléchargez PDF (see bottom of post) Contents 6          Editorial 8          Nouvelles 10        Leonard Cohen at MAC 12        Lucas Debargue 12        Tristan Longval-Gagné 14        Stingray Classica 16        Restauration de la salle Claude-Champagne 18        David T. Little 20        Frédéric Antoun 20        The Exterminating Angel 22        Éva Gauthier (2e partie/Part 2) 26        Grands barytons et basses d’ici 27        Mathieu, Descarries, Dompierre 28        Cover: Gerald Finley 32        Dmitri Hvorostovsky 34        Critiques de Concert Reviews 35        Idées cadeaux / Gift Ideas 36        CD Reviews 38        Jazz 40        Orchestre symphonique de l’école FACE Calendar/Guide 42        Calendar / Concert…

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Orchestre symphonique de Montréal The Orchestre symphonique de Montréal (OSM) will start its season with Mahler’s Symphony no. 8, “Symphony of the Thousand,” a large-scale work gathering more than 350 instrumentalists and singers on stage (September 19 & 21). In addition, Russian music will hold a special place during the fall. Russian-born conductor Vasily Petrenko will present an all-Russian music concert in October (October 11, 14, and 15), and pianist Charles Richard-Hamelin will complete the evenings with a concerto by Prokofiev. On November 11, the St. Petersburg Mariinksy Orchestra will present a concert in Montreal under the baton of renowned…

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Once again, the contemporary music scene in Montreal promises a season full of concerts and new music experiences. Whether as sophisticated regulars of contemporary music, fans of instrumental or mixed music, or even intrigued by the exploding scene of digital music and sound installations, Montreal’s artistic community will fulfill your desires as cosmopolitan music lovers. Here is an overview of several events to schedule on your calendar. La Société de musique contemporaine du Québec For its 52nd season, the Société de musique contemporaine du Québec (SMCQ) [Quebec Contemporary Music Society] presents a colourful program with diverse influences. This year, the…

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Part I Although no longer at their apogee, in the 1960s the two great sopranos of the time, Maria Callas and Renata Tebaldi, were still burning up the stage, and I had the great good fortune to see them. Thanks to their recordings, I had heard them when they were at the height of their careers. These memorable records, beloved by fans, divided the latter into two rival camps. At the time, I counted among my friends Georges Nicholson (for Callas) and Michel Beaulac (for Tebaldi). Each stoutly defended his idol’s merits, Nicholson being proud of Callas’ strong sense of…

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