So what’s up with Nina Stemme’s Stimme? The Kammersänerin is greeted rapturously at every performance she gives in Wien and new productions are lavished upon her (six to date). At 52, she has pretty much covered the German dramatic soprano repertoire, having recently added Elektra to her roles. This month, she returned to Leonore in Fidelio, a role she sang only once before, in London in 2011. Read more »
Since neither my forays into obscure Dvorák and Leoncavallo were very successful (Vanda actually had more “listens” than La bohème!), I think the sturdier of you will enjoy Nina Stemme’s Elektra from Saturday night at Wiener Staatsoper. Unfortunately, Anne Schwanewilms cancelled the entire run, so Ricarda Merbeth stepped into her puffy white dress. Read more »
An intimate concert on June 2 features highlights from little OPERA’s recent production of Slow Dusk & Markheim, along with other selections from composer Carlisle Floyd‘s remarkable body of work, including Willie Stark, Of Mice and Men and a glimpse at Prince of Players, Floyd’s new opera which recently premiered at the Houston Grand Opera. Read more »
At the Opernhaus Zürich, the coat check is not optional. A collective hush extends throughout the hall just before the dimming of the lights. And it may be the last opera house in the world where the overwhelming majority of patrons still dress in formal attire; I have never felt like such a slob in my khakis and untucked shirt. Yet the pomp is not without reason; I do not believe there is another opera company in the world that maintains such impressively high musical values while performing in a fairly intimate space with stellar acoustics. Read more »
The winners of the ninth annual F. Paul Driscoll Awards for Outstanding Achievement in the Field of Excellence (or, as they are colloquially known, the “Opera News Awards”) have been revealed.
La Cieca celebrates (if that is the word) the first snowfall of the season in New York in the traditional manner.