Marcello Giordani will be performing La Damnation de Faust at the Metropolitan Opera on November 7th, 10th, 14th, and 18th.
Marcello Giordani will be performing La Damnation de Faust at the Metropolitan Opera on November 7th, 10th, 14th, and 18th.
The dates of the performances are November 2nd, 7th, and 8th.
Jesus Garcia’s premiere La Boheme at the Prague State Theater is on the 23rd of October.
Gary Simpson will be singing Scarpia and Hollaender with the Prague State Opera. Here are the dates for the performances:
Tosca - 24th of October and 1st of November.
The Flying Dutchmann - 15 of October, 23rd and 30th of November.
From October 2008 OPERA NEWS:
CENTRAL CITY, CO.
(re RAPE OF LUCRETIA, SUSANNAH, & WEST SIDE STORY)
These works all probe the dark sides of human nature in meaningful and compelling ways and require stage directors (and performers) willing to confront the uncomfortable truths and sharp-edged emotions they contain.
Anyone surprised by the selection of Puccini’s dark-horse La fanciulla del West as the opening production of the Opéra de Montréal season got another jolt Saturday night: the replacement in the title role of the established American soprano Susan Patterson by an unknown Russian, Irina Rindzuner. Call the evening a doubly unexpected triumph.
Review One:
The Crucible, adapted by composer Robert Ward and librettist Bernard Stambler in 1961 from Arthur Miller’s play, may be one of the most musically and dramatically charged contemporary operas and probably deserves far more performances than it receives. But to watch Dicapo Opera’s production is to catch the work’s potential and not quite the full effect.
Marcello Giordani has been appointed Artistic Director of a new performance venue near his home in Augusta, Siciliy.
Read the article here.
Central City Opera wraps up season with spectacular ‘Susannah’
“Susannah,” when done so well as it was in the season’s opening
performance of the work here on Saturday, is forever; it’s here and
now and it’s an unhappily American story.
The CCO wisely brought Michael Ehrman back to re-stage the company’s
1997 production of Floyd’s “greatest hit,” for the director’s local
