Browsing All Posts filed under »politics in opera«

Madama Butterfly, or America as the marital rights utopia

October 17, 2014

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Madama Butterfly at the COC. Seen October 15, 2014. Tickets & more info The libretto of Madama Butterfly is impossible to love, but the sad fact of the matter is that the music of this opera is probably Puccini’s most sophisticated score, least emotionally manipulative, least musical theatre, least cheddar. There are some exceptional musical […]

When the Sun Comes Out – the Toronto Concert Premiere

June 27, 2014

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Let’s hope that we will be able to see When the Sun Comes Out properly staged and orchestrated for at least a handful of instruments in the near future. (AtG, I’m looking at you?) Vancouver has seen the work staged (albeit minimalistically) and orchestrated for single violin, flute, clarinet cello and the piano and conducted […]

Christopher Alden talks about his new production Il Turco in Italia

June 22, 2014

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How did you approach Il Turco in Italia, how do you understand it? It’s the piece that I love, and once did years ago at the Long Beach Opera. I thought about it for years. It has this element running through the libretto about the cultural differences between two people who fall for each other. […]

Roberto Devereux at the COC

April 26, 2014

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Roberto Devereux (1837) by Gaetano Donizetti, libretto Salvadore Cammarano after Francoise Ancelot‘s tragedy Elisabeth d’Angleterre. A Dallas Opera Production, the Canadian Opera Company premiere. Director Stephen Lawless, conductor Corrado Rovaris. More info here.It’ll be easy to mock this work — and other operas of this era that share the bel canto ideas of historical accuracy and plotting — so I will try not to […]

Hercules directed by Peter Sellars / A LOC-COC co-production

April 12, 2014

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Handel – Hercules. A Canadian Opera Company / Lyric Opera Chicago co-production, seen April 11 2014. Director Peter Sellars, conductor Harry Bicket. Eric Owens (Hercules), David Daniels (Lichas), Richard Croft (Hyllus), Alice Coote (Dejanira), Lucy Crowe (Iole). Complete cast & creative plus tickets and dates here.  I found this Sellars production to be in effect a semi-staging, with […]

Laura Pudwell as Cavalli’s Giasone, and other things I will miss

March 10, 2014

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A contralto of gorgeous timbre, Laura Pudwell, is scheduled to sing the title role in a concert version of Cavalli's Giasone with Toronto Consort, April 4-5-6, TSP.

Un ballo in maschera by Wieler-Morabito at the COC

February 7, 2014

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Un ballo in maschera (Giuseppe Verdi-Antonio Somma, 1859). A Berlin Staatsoper Unter den Linden production directed by Jossi Wieler and Sergio Morabito, revival director Samantha Seymour. Conductor Stephen Lord. Seen at the Canadian Opera Company on February 5. My intro to Il Ballo HERE. The setting is American of indeterminate age, closer to the Civil Rights […]

Interview: Samantha Seymour, revival director of Wieler-Morabito’s Un Ballo in Maschera

January 25, 2014

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A British ex-pat in Munich, Samantha Seymour was well-set on an engineering career when she first caught the opera fever. It came to her fairly late in life, and thanks to an opera-loving friend who shared the tickets to the Bayerische Staatsoper. A Xerxes with Ann Murray particularly stands out as an early favourite. Many operas later, Seymour found herself downsized and out of a job in an industry of seemingly stable employment and steady career paths. She used the opportunity to turn to what she loved even more than the maths and sciences: opera directing. A return to school followed, and a period of retraining. At one of the workshops she met the directors Jossi Wieler and Sergio Morabito, and it all started from there.

Parsifal by Richard Wagner: Overture Opera Guides

January 2, 2014

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Overture Opera Guides in association with ENO: Parsifal Richard Wagner. Series Editor Gary Kahn, Editorial Consultant Philip Reed, Head of Publications-ENO. Oneworld Classics, London 2011.

The Opera Questionnaire: Cecily Carver

July 12, 2013

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Cecily: As someone who became an opera addict during my teenhood, it seems to me that opera is very well-suited for teenagers already – with its romanticism and big emotions.