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  1. #1546
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    This announcement from Glyndebourne will gladden the Prince of Darkness's heart:

    Early news for Festival 2017: Our celebration of Shakespeare will continue into the 2017 Glyndebourne Festival with the world premiere of a new opera based on Hamlet.

    Composed by Brett Dean, one of the most celebrated international composers of his generation, it features a libretto by Canadian writer and theatre director Matthew Jocelyn.
    Natalie

  2. #1547
    Senior Member Involved Member Nekrotzar's Avatar
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    Oh yes I know about that! Mainly from rumours...but news about casting has been coming out as well: Barbara Hannigan, Sarah Connolly and John Tomlinson will be in it, and Allan Clayton will be singing the role of Hamlet.
    If you would seek salvation, remember this:
    a life in Hell can still aspire to BLISS.

  3. #1548
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    Today's e mail brought news of a live streaming of Rossini's Stabat Mater from the Rossini Opera Festival on Saturday, August 22 at 8:30 pm ("ore 20.30). The link is www.rossinioperafestival.it. Cast: Yoland Auyanet, Anna Goryachova, Rene Barbera and Nicola Ulivieri. Michele Mariotti conducts.

    I am personally very fond of this piece.

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  5. #1549
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    And, even as I type, Medici TV is doing VOD of Juan Diego Florez Salzburg Concert, wherein he does (so far, as I am watching this right now ) songs by Tosti which I have never heard better performed, even by Bjoerling!

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  7. #1550
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Natalie

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  9. #1551
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    The English hunky is better and has arrived in Japan ready to start rehearsals for Macbeth.

    Buys lotto ticket.
    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

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  11. #1552
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    The news on the two hunkies is a major day brightener, both for opera fans, but more importantly, for the families of the hunks!

  12. #1553
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    A little national PR for the Met: Sondra Radvanovsky's turn as Donizetti's Tudor Queens at the Met makes "Vanity Fair":

    http://www.vanityfair.com/culture/20...-tudor-trilogy

    Of course, I'm not so sure about the reference to Radvanovsky having "matured into a dramatic coloratura soprano in the Callas tradition".

  13. #1554
    Senior Member Top Contributor Member Clayton's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    I just got the ROH Winter season brochure in the post today and noticed the Eugene Onegin cast. I'm very happy to hear he is singing again.

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  15. #1555
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    I ran across an article from The New Yorker about the potential of Yannick Nezet-Seguin replacing James Levine as Music Director at the Met, which was only moderately interesting (the article seemed more pre-occupied by whether or not Esa-Pekka Salonen might replace Alan Gilbert at the NY Philharmonic, etc.), when I noticed a link to another New Yorker article about the backstage financial brouhaha at the Met last year.

    It's fairly long, and dates back to this past March (2015) but I found it fascinating. It gets into the Met's Board structure and personalities, fundraising and effort by the Board to reel in the unions. It discusses Peter Gelb's record at the Met and its future and compares the ticket sales at the Met with the different success rate of European opera houses even recognizing that the houses are smaller than the Met).

    Anyway, see what you think:

    http://www.newyorker.com/magazine/20...t-at-the-opera

    See

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  17. #1556
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Oh wow. I feel devastated after I read this article. Now I understand why this current season is so dismal. The Met is in much worse shape than I thought. In spite of all this effort to negotiate with the unions and get donations, austerity and deficits are likely to continue.

    Currently I have been paralyzed and unable to book my usual three trips to New York City. I can't manage to put together weeks that include a fair number of productions I'd like to see. I think this is the worst season in years, maybe decades. I feel that most of it is not really compelling fare.

    Yes, I share with Gelb the love for new productions, but yes, some of them were disasters. It's really a mixed bag. Cost overruns which the article sort of downplayed as the unions just trying to counter Gelb's arguments, were real and do make one question the management. On the other hand I do praise other parts of Gelb's tenures - some of the successful new productions, the Met in HD series, and the quality of the singing roster.

    What worries me more is the divisiveness. It seems like some important donors are all for what Gelb is doing, but then, some other very important donors are not, and are quitting.

    A very successful administration should bring these people together and should be able to foster consensus, not divisiveness. That's one of the major concerns I have after reading this article. The Met is in sufficient trouble to require that all opera lovers, donors, the public, the artists, and the non-artistic workers, feel a sense of ownership and a common cause. Instead, we see people quitting and resentment brewing.

    On the other hand some people get angry and resentful due to a love for the old productions and the status quo, while personally I am someone who enjoys modern and contemporary opera and loves new productions (not necessarily of the extreme regie type, but yes, the smart and tasteful regie type). So, there is something admirable with Gelb's effort to continue to push the organization forward in spite of board members feeling disgusted with new productions.

    As my post itself demonstrates, it's a very complex problem, with Gelb possessing both strengths and weaknesses, but I am left with a pervasive feeling that things are not going well and more trouble will happen in the near future.

    I already feel a drop in the artistic quality with this utterly unimaginative current season. Now after reading this, I'm afraid that it will worsen.

    I also feel pretty discouraged with the fact that the European houses are doing so well, while our major and great American opera company seems to be failing. This has a profound impact on my sort of patriotic feelings and my love for what is American in our country's operatic environment.

    Why is an organization like the ROH which the article says enjoys a relatively small governmental subsidy, doing so well, and the Met doing so poorly? I think Mr. Gelb needs to think hard about this question. It can't be just because opera is more popular in Europe. It just can't be. Opera being less popular in the United States does affect other regional houses but shouldn't affect the Met. There are sufficient opera lovers in the United States to sustain our major company, and the city of New York is extremely sophisticated, with a fair number of cultured people and a huge number of foreign tourists (I routinely talk in the Met with seat neighbors who come from abroad to attend the productions) - with compelling products and good management, the Met *should* be able to fill those seats, and they *did* feel those seats before.

    Our economic crisis has abated significantly but the audiences are not back to the pre-2007/2008 levels in the same proportion, and this *is* concerning. There *is* something going wrong with the Met, and the idea that the root cause is popularity and/or economic crisis is no longer sustainable.

    Things like the problems with the Lepage Ring, the expensive red poppies field, and the acoustically porous sets in Le Nozze di Figaro are major blunders that should *not* be happening in a company like the Met.

    Oh well, my post is all over the place. It's easy to notice how ambivalent I am.

    But the bottom line is - I'm shocked, sad, and concerned.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  19. #1557
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Peter Gelb planning for more single ticket buyers. Most of the tickets sold at ROH are for single performances rather than subscriptions so this would make sense.

    [Interview]
    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

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  21. #1558
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Luc Bondy passed away.
    R.I.P.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  22. #1559
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    According to a Romanian friend Ioana, who I got to know via the internet and who I met in person in Bucharest, the following are among those who have been booked to perform during the George Enescu Festival 2017.

    Dmitri Hvorostovsky
    Jonas Kaufmann
    Olga Peretyatko
    Luca Pisaroni

    Ioana works for Romanian TV and she was at the press conference when these details were announced. More information will be posted on the Festival website later.

    The booking website crashed the first time I tried to book and that was for not so well known performers. I hope the booking system is more robust than it was in time for what will be a high demand.
    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

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  24. #1560
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Browse The Royal College of Music instrument collection. Not opera but I think it might be of interest.
    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

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