Search

The article discusses The Potency of Melody: Riccardo Chailly paces Kate Lindsey and Lauren Michelle in a Kurt Weill double bill at La Scala, staged by Irina Brook, which includes the intelligence of Brook's production which concentrated much of the action on a raft-like platform surrounded by a sea of plastic-lay in its unflinching focus on character and mood.

The article offers information on Danish baritone and opera singer Johan Reuter. Topics discussed include acting approach to things being different than singing, he considered his voice type after five years of professional singing, he is a member of Royal Danish Opera for 20 years, his repertory ranges from Wagner and Strauss; and lyric language in opera helps in expressing the psychology of the characters.

The article examines the complexities of the character Princess Eboli of the five-act French grand opera "Don Carlos" composed by Giuseppe Verdi. Topics discussed include the revisions made by composers for the role throughout the years, Eboli's character development, and accompaniment with Verdi instrumental music. The significant duet between Elisabeth and Eboli that was missing in some productions and the conception of the veil song are also mentioned.

The article presents a profile of the Italian bass opera singer Ferruccio Furlanetto in 2013, discussing his lifelong career in the performing arts. Introductory information is provided, charting Furlanetto's career since 1978. Comments by Furlanetto are included describing his experiences learning under the previous generation's opera celebrities, his interpretation of the role of King Philip II in Giuseppe Verdi's "Don Carlo," and his opinions on the future of opera.

The article presents an examination of the life of the U.S. operatic bass-baritone Norman Treigle, contrasting his career accomplishments with his personal and medical struggles. Several operatic roles which Treigle took on and gained recognition for are described. Details are then given describing his struggles with several medical complications before dying of an accidental overdose of barbiturates at age 47.

The article presents an interview with opera singer Susan Graham about the changes in her life in the decade ending December 2012. She compares her life experiences in the past decade to those of Didon, a character portrays in Hector Berlioz's "Queen of Carthage." Graham relates her experience of working with director Willy Decker on the role of Charlotte in Jules Massenet's "Werther" at the Netherlands Opera in 1996.

The article features U.S. mezzo-soprano Isabel Leonard. She earned her Bachelor and Master of Music degrees at the Juilliard School in New York City. She played Cherubino in the opera buffa "Le Nozze di Figaro," directed by Michael Grandage at Glyndebourne in East Sussex, England in late June 2012. It is said that Leonard's voice is actually difficult to classify despite being listed as a mezzo-soprano on the roster of the Metropolitan Opera in New York City.

The article discusses the character of Erda in the Ring Cycle operas by Richard Wagner, with particular focus given to the vocal qualities expected of singers playing the character and her role in the operas. Performances as Erda by singers including Ernestine Schumann-Heink, Vĕra Soukupová, and Catherine Wyn-Rogers are also discussed.

The article presents the author's reflections on the three principle women characters of the opera "Don Giovanni," by Wolfgang Amadeus Mozart. The personalities and features of Donna Elvira, Donna Anna and Zerlina are discussed from the perspective of the music and contemporary 21st-century staging conventions in theatrical companies.

The article discusses the depiction of Queen Anne Boleyn of England in art and drama. It states that life of Boleyn has been depicted in several operas, paintings and poetry. It offers information on Gaetano Donizetti's opera "Anna Bolena," and compares the event in opera with historical events. It is stated that after coronation of her daughter Elizabeth as queen of England, Boleyn was glorified in operas as a martyr of English Reformation and adultery charges against her were dismissed.

The article offers information on opera singer Mariusz Kwiecien. It states that Kwiecien has been cast as main character in the Metropolitan Opera's theatrical production "Don Giovanni" directed by Michael Grandage, to be staged in October 2011. Kwiecien says that he thinks that the character of Don Giovanni should mix characteristics of devil and angel.

The article focuses on the significance of the portrayal on the singing role of Edgardo in Gaetano Donizetti's "Lucia di Lammermoor." It cites several of the extraordinary performances of Metropolitan Opera Edgardos including Enrico Caruso, Nicolai Gedda, and Luciano Pavarotti. It also features the styles and performances of the playing Edgardos whose great voices bring quality to a piece of music that touches the soul and captures the heart of Met audiences.

The article profiles the title role of bass-baritone George London in stepping into the Metropolitan to sing in the production of "Boris Godunov." It is the turning point for London's career and for Met audiences as he would be the first American ever to perform part of Boris at the Met and the first time in a language it understands. London's a singing actor of distinct charisma, artistry and presence and on the cadre of key roles with Boris' fame having been presented 117 times at the Met.

The article profiles Deborah Voight, an opera dramatic soprano who has completed her reputation in the large-scale soprano roles. It states that Voight takes the role as Elsa, Sieglinde, and Ariadne in various theatrical productions by Richard Wagner and Richard Strauss. It mentions that she brought her newest Italian role Minnie at Lyric Opera of Chicago in which she appeared glamorous and blonde but still distinctively proved daunting for sopranos of a supplementary lyric bent.

In this article the author discusses the aspects of decreasing popularity of works composed by composer Giacomo Meyerbeer. He states that works by Meyerbeer, including "Les Huguenots," "Robert le Diable," and "Le Prophète," were once very popular but they are not being performed in recent times. According to the author the reasons for this include unconventional characters in his operas, long durations, and being highly expensive.

The article reviews the opera "Ariadne auf Naxos," which was performed at the Metropolitan Opera, New York City and also include information on the lead character of the opera Nina Stemme. The opera was conducted by Kirill Petrenko and included singers Dennis Petersen and Michael Devlin. It presents the personal preferences of Stemme. She shared information on the recent book that she read, her favorite opera and the first record she bought.

The article discusses the characterization of the heroine in the opera "Elektra," directed by Richard Strausss. The author mentions that the role has very wide ranging dramatic requirements and different artists portray the vulnerabilities of the character in different ways. Also discussed are the various aspects of the drama written by the author.

The article focuses on the popular opera of the 19th century "Les Contes d'Hoffmann" and some of the characters in the opera. It analyzes the strength of characters portrayed over the years. In the opera's 1973 edition, soprano Joan Sutherland played the character of four different heroines with different characteristics. The characters were four girls whose names were Olympia, Giulietta, Antonia and Stella. Lyricist Oscar Hammerstein's Manhattan Opera offered Hoffmann, with spoken dialogue.

The article discusses opera performer Joseph Calleja, who has been playing the character of the lovelorn poet Hoffmann for decades. Calleja was born in Malta and still resides there. He has won several major international competitions, including Plácido Domingo's Operalia. Calleja, is expected to move in the direction of French opera.

The article presents the comments of sopranos Susan Bullock, Angela Denoke and Anne Schwanewilms on the work of composer Richard Strauss. Bullock says that after the elegiac Act II opening in the opera "Die Ägyptische Helena," Strauss couldn't hide his enthusiasm and the more he pounced on the libretto, the more uneven the results. Schwanewilms says that the unresolved duality of the character Arabella is a big mistake. Angela Denoke is equally confounded by the enigmatic Arabella.

The article discusses the operatic tenor role of Siegfried from the cycle "Der Ring Des Nibelungen," by Richard Wagner. Discussion is given highlighting the challenge of the role, citing high levels of physical, artistic and dramatic requirements for the character. An overview of several singers who have portrayed the role is given, including Ludwig Schnorr, Lauritz Melchior, and Ben Heppner.

The article presents a profile of the operatic tenor Johan Botha and discusses his career in music. Details are given highlighting his struggle with dyslexia and the emotional significance of his ability to express himself through music. An overview of Botha's career is given, describing his early singing training, outlining several prominent roles he has performed in Europe and the U.S., and his philosophy of taking on work.

The article presents a profile of the operatic tenor Michael Schade and an exploration into his career development. Details are given describing his vocal technique, highlighting his depiction of characters by Wolfgang Amadeus Mozart and Gioacchino Rossini. Schade's early training is discussed and his views on managing a career are given.

This article offers information on Richard Strauss' opera "Die Ägyptische Helena." This opera focuses on a problem child named Helen. It is based on the myth about Helen of Troy. It is composed of mostly duets, including one between characters Menelas and Helena. The themes of marriage, fidelity and memory are reflected in the opera.

The article presents an interview with soprano Mattiwilda Dobbs. She reveals that while studying, she did not have much hope of being an opera singer. When asked about her least favorite role, she cites "The Queen of the Night." She talks about the challenges she had faced as an Afro American opera singer, including not being able to sing for segregated audiences. She considers singer Paul Robeson as her inspiration.

The article offers information on opera trope. Topics include examines poem of Ludovico Ariosto's "Orlando Furioso" finished in 1532 contains canto in which title character goes mad after his beloved elopes with another; and considered the most famous mad scene in opera is the one near the end of Donizetti's Lucia di Lammermoor from 1835.

The article reports on the comeback of the opera Don Pasquale in the Metropolitan Opera. The reasons behind the absence of the Don Pasquale in the opera house is mentioned. The characters and themes of the opera are highlighted. The casts are mentioned. The actors and actresses who took on roles in Don Pasquale are cited.

The article presents an interview with soprano singer Anna Netrebko regarding her career. Netrebko cites the reason behind her decision to cancel her recital debut of Rigoletto. She describes her character in La Traviata. She also mentions her dislike of the character Norina in Don Pasquale. She likewise shows her disapproval to the media attention she has been receiving over the years.

The article presents information on the opera Rodelinda. The casts of the opera are enumerated. The characters and story of Rodelinda are highlighted. Background on the opera's composer George Frideric Handel is provided. INSET: RODELINDA.

The article presents information on the opera Lohengrin. The casts of the opera are enumerated. The characters and story of Lohengrin are highlighted. Background on the playwright Richard Wagner is provided. INSET: LOHENGRIN.

The article presents information on the opera Le Nozze di Figaro. The casts of the opera are enumerated. The characters and plot of Le Nozze di Figaro are highlighted. INSET: LE NOZZE DI FIGARO.

The article presents information on the opera Don Pasquale. The casts of the opera are enumerated. The characters and the plot of Don Pasquale are highlighted. INSET: DON PASOUALE.

The article presents the views of the cast of the novel-adapted opera "An American Tragedy" on the opera. Director Francesca Zambello compares the opera with the film "A Place in the Sun." Actress Patricia Racette comments on the challenge posed by the opera. Actress Dolora Zajick describes the role of Elvira. According to mezzo-soprano cast Jennifer Larmore novel characters changed when performed in an opera.

Profiles soprano Teresa Stratas. Reason behind her retirement; Description of her roles in several operas; Performance in the opera "The Ghosts of Versailles."

Profiles bass-baritone Bryn Terfel. Family background; Achievement of scholarship at the Guildhall School of Music and Drama in London, England; Preparation for the role of Wotan in the opera "Das Rheingold."

Interviews opera singer René Pape about his career. Career highlights; Description of his opera roles; Working relationship of Pape with opera conductors Antonio Pappano and Wolfgang Wagner.

Focuses on the portrayal of the role of Queen of the Night in the opera "Die Zauberflöte." Disadvantages of the stagecraft that lifts the queen to perilous heights; Performance of opera singer Roberta Peters; Description of the role as queen by several opera singers.

Presents an interview with French opera singer Mady Mesplé about her career. Stage fright experienced by the singer; Details of the French style distinguished in opera roles that she played; Personal background; Contribution of her mentors to her career.

Features mezzo soprano Regina Resnik. Factors that contributed to the foundations of her musical and theatrical knowledge; Contribution of Rosalie Miller to the career of Resnik; Roles played by the soprano from 1944 to 1950; Lessons learned from her conductors.

Focuses on the concept of demented opera. Description of demented performances; Reason behind the affinity of gay men for demented opera in the 1950s; Style used by divas in opera; Signs of post-demented age in opera; Role of gay men in demented opera.

Features opera singer René Fleming. Details on how her career started; Her risky roles played; Important person that influenced her career.

Focuses on the role of Princess Eboli in the opera 'Don Carlo.' Difficulties and challenges experienced by the performers; Description of some of the scenes of Princess Eboli in the opera; Evaluation of the performance of several opera singers who have performed the role.

Features opera singer Denyce Graves. Theater and television contracts signed by Graves as of September 2001; Opera characters which have been performed by Graves; Attitude of Graves in dealing with her career in theater arts.

Features soprano Natalie Dessay in line with her role as Amina in the opera `La Sonnambula' at La Scala. Other notable singers who interpreted the role of Amina; Audience response to Dessay's Amina; Efforts of Dessay in preparation for `La Sonnambula'; Career background of Dessay.

Analyzes Kundry, a female character in Wagner's opera `Parsifal.' Role of sexual temptation in the opera; Symbols found in `Parsifal'; Positive traits given by Wagner to his opera characters; Music of the opera; Repentance and redemption of Kundry.

Profiles Jon Vickers, an opera singer. Details of his role as an outcast fisherman in the opera `Peter Grimes.'; Impact of his performance on his career; Details on his preparations for the portrayal.

Focuses on the opera singers who have performed the role of Carmen. Characteristics of Carmen; Vocal difficulties in the role of Carmen; Description of Carmen's music; Successful portrayals of Carmen.

Discusses how the character of the gypsy Azucena drives the plot in Giuseppe Verdi's opera `Il Trovatore.' Background on the opera; Verdi's personal crisis while working on the opera; Characters in the opera; Verdi's observations of Gypsies at close range; Development of Azucena's character; Opera highlights; Plot development.

The article presents a profile of the Czech operatic soprano Lucia Popp, focusing on her ability to portray multiple stock character personality types while still being a sympathetic figure for opera audiences to identify with. Topics addressed include discussion of Popp's vocal characteristics and performance mannerisms, a brief overview of her international professional career, and a select discography of recordings featuring Popp.

The article focuses on the costumes of the character of Violetta Valéry in the opera "La Traviata." It is reported that several basic elements of Violetta's gowns follow the fashionable silhouette of the mid-nineteenth century as most productions of La Traviata are set close to the time of the opera's 1853 premiere. The elements include a well-fitted bodice that is usually structured with interior boning and paired with full, bell-shaped skirts.