Thread: News

          
   
    Bookmark and Share
  1. #1891
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
    Join Date
    Dec 2011
    Location
    UK
    Posts
    3,632
    Post Thanks / Like
    Quote Originally Posted by Clayton View Post
    I have but I can't quite remember what its was.



    He conducted one (maybe more?) of the performances of La bohème two years ago at ROH. Was it that?

  2. #1892
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
    Join Date
    Dec 2012
    Location
    Arlington, VA
    Posts
    3,328
    Post Thanks / Like
    Quote Originally Posted by Ann Lander (sospiro) View Post
    Plácido Domingo is to conduct Die Walküre at Bayreuth in 2018. Has anyone here seen him conduct?

    http://operawire.com/placido-domingo...reuth-in-2018/
    Anne Midgette (Washington Post) commented once in a review of WNO's production of Tosca in 2011:

    "All the performances were hampered, indeed sabotaged, by the conducting. Placido Domingo, appearing for the first time since stepping down as general director, is a wonderful singer," wrote Midgette. "But rather than supporting the singers, his conducting either drowned them out or tripped them up...I’m not sure his presence sells enough tickets to make up for spoiling the evening. Surely there are other ways to include him in WNO’s future."

    Domingo, of course, had a rebuttal - to the extent that Midgette was being really mean. Forgive me for not including it.

    My ear is pretty good with appreciating various singers and singing styles. I can't say the same about conducting except when a conductor's pacing seems off or when he/she is drowning out the singers. I saw that production and don't recall the problem that Midgette referred to - but, I wasn't there on opening night.

    Just the same, Domingo, now in his late 70s, is attempting to keep his hand in the game. His singing skills, while still somewhat credible, are not what they were. Conducting appears to be one of those skills that are deemed transferable from another, faded, skill. Witness Daniel Barenboim (whom I think is good, but not as good as many think he is), formerly a well known pianist. Christoph Eschenbach is another former pianist who was controversial as conductor of the Washington National Symphony (although I absolutely loved his concert performance of Der Rosenkavalier with Rene Fleming). Rene Jacobs seems to be somewhat more successful in having made the switch from countertenor to baroque opera conductor. However, ego seems to be the overriding skill that mostly is at stake - to the detriment of the audience experience.

  3. #1893
    Senior Member Top Contributor Member Clayton's Avatar
    Join Date
    Sep 2013
    Location
    Berkhamsted, UK
    Posts
    4,263
    Post Thanks / Like
    Quote Originally Posted by Ann Lander (sospiro) View Post
    He conducted one (maybe more?) of the performances of La bohème two years ago at ROH. Was it that?
    The one I am thinking about was a few years before when Covent Garden was closed for refurbishment and it was a concert performance elsewhere. Still trying to rummage around in the cobwebbed clutter that is my memory. It's like searching for something in the cellar when the lights broken and the torch's batteries are really on the last bit of energy left...

  4. Likes MAuer, Ann Lander (sospiro) liked this post
  5. #1894
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
    Join Date
    Dec 2012
    Location
    Arlington, VA
    Posts
    3,328
    Post Thanks / Like
    Interesting news piece about a rare bird - an up and coming African-American conductor:

    http://www.nbcnews.com/news/nbcblk/m...hestra-n788306

  6. Likes MAuer, Ann Lander (sospiro) liked this post
  7. #1895
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
    Join Date
    Dec 2011
    Location
    UK
    Posts
    3,632
    Post Thanks / Like
    Promo for Netrebko in Aida from Salzburg.


  8. Likes MAuer liked this post
  9. #1896
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
    Join Date
    Dec 2012
    Location
    Arlington, VA
    Posts
    3,328
    Post Thanks / Like
    I had a busy weekend, so am just starting to catch up on my stacked up newspapers. Somehow, the world continues on...

    Anyway, Friday's "Washington Post" had an article in the Style section announcing this year's Kennedy Center Honors. Gloria Estefan, Lionel Ritchie, LL Cool J, Norman Lear and Carmen de Lavallade.

    Note that, with the possible exception of Carment de Lavallade, of whose dancing career I am only vaguely aware, the others are commercial artists and not representative of the so-called 'High Arts'. This shift, noted by Post critic Philip Kennicott, started two or three years ago, and is getting worse. Kennicott is at least as perceptive and smart critic writing today:

    https://www.washingtonpost.com/enter...=.714c2cd5a758

  10. Likes MAuer liked this post
  11. #1897
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
    Join Date
    Dec 2011
    Location
    UK
    Posts
    3,632
    Post Thanks / Like
    Quote Originally Posted by Hoffmann View Post
    I had a busy weekend, so am just starting to catch up on my stacked up newspapers. Somehow, the world continues on...

    Anyway, Friday's "Washington Post" had an article in the Style section announcing this year's Kennedy Center Honors. Gloria Estefan, Lionel Ritchie, LL Cool J, Norman Lear and Carmen de Lavallade.

    Note that, with the possible exception of Carment de Lavallade, of whose dancing career I am only vaguely aware, the others are commercial artists and not representative of the so-called 'High Arts'. This shift, noted by Post critic Philip Kennicott, started two or three years ago, and is getting worse. Kennicott is at least as perceptive and smart critic writing today:

    https://www.washingtonpost.com/enter...=.714c2cd5a758
    That is so depressing.

    Zambello's comment after sacking Auguin, that WNO is " ... evolving towards different needs from a music director" is particularly sad.

  12. Likes Hoffmann liked this post
  13. #1898
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
    Join Date
    Dec 2011
    Location
    North Carolina, USA
    Posts
    9,311
    Post Thanks / Like
    Quote Originally Posted by Ann Lander (sospiro) View Post
    That is so depressing.

    Zambello's comment after sacking Auguin, that WNO is " ... evolving towards different needs from a music director" is particularly sad.
    It's a sign of the times, easy to understand when we look at the big picture of what's been happening in America today.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  14. #1899
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
    Join Date
    Dec 2011
    Posts
    3,797
    Post Thanks / Like
    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    It's a sign of the times, easy to understand when we look at the big picture of what's been happening in America today.
    Please note Rule 12 under the Terms of Service: "It is summarily prohibited to look at the big picture of what's been happening in America today."

  15. Likes Hoffmann liked this post
  16. #1900
    Senior Member Veteran Member
    Join Date
    Aug 2014
    Location
    Bloomfield Hills, MI
    Posts
    844
    Post Thanks / Like
    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    It's a sign of the times, easy to understand when we look at the big picture of what's been happening in America today.
    So sadly true.

  17. Likes MAuer liked this post
  18. #1901
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
    Join Date
    Dec 2011
    Location
    UK
    Posts
    3,632
    Post Thanks / Like
    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    It's a sign of the times, easy to understand when we look at the big picture of what's been happening in America today.
    Quote Originally Posted by Amfortas View Post
    Please note Rule 12 under the Terms of Service: "It is summarily prohibited to look at the big picture of what's been happening in America today."
    Or in UK

  19. Likes Povero Buoso liked this post
  20. #1902
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
    Join Date
    Dec 2011
    Location
    North Carolina, USA
    Posts
    9,311
    Post Thanks / Like
    Opera Lively is happy to divulge this press release:



    CAMP ANNOUNCE MODERN COMPOSITION COURSE WITH GAVIN BRYARS
    24/07/2017

    Following the announcement (and fast selling out) of sessions with Chris Watson (founder of Cabaret Voltaire, and sound recordist for David Attenborough), Laraaji (celebrated ambient musician, best known for his work with Brian Eno) and Eli Keszler (NYC virtuoso percussionist, composer and installation artist), CAMP have announced a rare masterclass in modern composition with Gavin Bryars.

    Bryars is without a doubt one of the world's most celebrated living composers. He emerged in the early sixties, playing bass with improvisers Derek Bailey and Tony Oxley, and by the late 60's he was working with John Cage, Cornelius Cardew and John White. His first major works - The Sinking of the Titanic (1969), originally released on Brian Eno's Obscure label in 1975, and Jesus' Blood Never Failed Me Yet (1971) - were released in new versions in the 1990s, selling over a quarter of a million copies.

    Opera and ballet have formed important strands in Gavin's practice - he has written four full-length operas, working with the BBC Scottish Symphony Orchestra, English National Opera, Mainz Opera, Long Beach Opera and the Opera de Paris, alongside such renowned directors as Robert Wilson, Georges Delnon and Jean Lacorrnerie. He has worked with Opera North Projects and the Royal Shakespeare Company since 2006, and his collaboration with Merce Cunningham, Biped, toured worldwide.

    This course will take Gavin's work as a starting point to examine compositional forms and strategies, working closely with the group's existing practice and methods, with the aim of each student developing a finished work for performance at the end of the session.

    The sessions will be accompanied by optional outdoors activities led by CAMP crew, including guided mountaineering, visits to local beauty points, and downtime to hang out, relax, enjoy the local food and wine, and learn informally from Gavin, the CAMP crew, and your fellow students.

    All sessions include full board accommodation at the centre, all activities, optional outdoor activities including hiking, running and visits to local beauty spots, unlimited use of the centre’s Pro Tools studios, editing suites, arts library, performance areas, galleries and other facilities. Participants also get ongoing artist support from Fuse Art Space including performance opportunities, tour support, and opportunities to distribute new work via Fuse’s stable of in-house publishing and releasing imprints.

    More information, images, socials: https://www.campfr.com | @camp_fr | facebook.com/campfr Video: https://vimeo.com/205925394 Questions / more info: hello@wearefuse.co
    Attached Images Attached Images  
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  21. #1903
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
    Join Date
    Dec 2011
    Location
    UK
    Posts
    3,632
    Post Thanks / Like
    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    Opera Lively is happy to divulge this press release:



    CAMP ANNOUNCE MODERN COMPOSITION COURSE WITH GAVIN BRYARS
    24/07/2017

    Following the announcement (and fast selling out) of sessions with Chris Watson (founder of Cabaret Voltaire, and sound recordist for David Attenborough), Laraaji (celebrated ambient musician, best known for his work with Brian Eno) and Eli Keszler (NYC virtuoso percussionist, composer and installation artist), CAMP have announced a rare masterclass in modern composition with Gavin Bryars.

    Bryars is without a doubt one of the world's most celebrated living composers. He emerged in the early sixties, playing bass with improvisers Derek Bailey and Tony Oxley, and by the late 60's he was working with John Cage, Cornelius Cardew and John White. His first major works - The Sinking of the Titanic (1969), originally released on Brian Eno's Obscure label in 1975, and Jesus' Blood Never Failed Me Yet (1971) - were released in new versions in the 1990s, selling over a quarter of a million copies.

    Opera and ballet have formed important strands in Gavin's practice - he has written four full-length operas, working with the BBC Scottish Symphony Orchestra, English National Opera, Mainz Opera, Long Beach Opera and the Opera de Paris, alongside such renowned directors as Robert Wilson, Georges Delnon and Jean Lacorrnerie. He has worked with Opera North Projects and the Royal Shakespeare Company since 2006, and his collaboration with Merce Cunningham, Biped, toured worldwide.

    This course will take Gavin's work as a starting point to examine compositional forms and strategies, working closely with the group's existing practice and methods, with the aim of each student developing a finished work for performance at the end of the session.

    The sessions will be accompanied by optional outdoors activities led by CAMP crew, including guided mountaineering, visits to local beauty points, and downtime to hang out, relax, enjoy the local food and wine, and learn informally from Gavin, the CAMP crew, and your fellow students.

    All sessions include full board accommodation at the centre, all activities, optional outdoor activities including hiking, running and visits to local beauty spots, unlimited use of the centre’s Pro Tools studios, editing suites, arts library, performance areas, galleries and other facilities. Participants also get ongoing artist support from Fuse Art Space including performance opportunities, tour support, and opportunities to distribute new work via Fuse’s stable of in-house publishing and releasing imprints.

    More information, images, socials: https://www.campfr.com | @camp_fr | facebook.com/campfr Video: https://vimeo.com/205925394 Questions / more info: hello@wearefuse.co
    That looks fabulous!

  22. Likes Luiz Gazzola (Almaviva) liked this post
  23. #1904
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
    Join Date
    Dec 2012
    Location
    Arlington, VA
    Posts
    3,328
    Post Thanks / Like
    There was an item in the "Washington Post" that WNO has hired Timothy O'Leary from the Opera Theatre of St. Louis to be their new general director.

    https://www.washingtonpost.com/enter...=.11717161f6cc

    He apparently has an outstanding managerial record and seems to be a good fit with Francesca Zambello, who will continue as artistic director - he likely will relieve her of some managerial pressure while she enjoys peripatetic directorial success.

    On the other hand, I am concerned (Luiz, cover your eyes) this will mean increased attention and scheduling of contemporary works along with mediocre/disinterested presentations of warhorse operas - just enough to keep long time subscribers interested, but all attention and devotion will be on the new stuff (where, in my view, a little goes a long way).

    As a second point of reference, here is a column from Anne Midgette about the current Philadelphia Opera's festival, which is featuring significant focus on contemporary works - along with the Barrie Kosky production of "The Magic Flute" and a free Opera on the Mall performance of "The Marriage of Figaro" (what's with all this English translation of opera titles, anyway??).

    https://www.washingtonpost.com/enter...=.c049ad06df6a

  24. Likes MAuer, Ann Lander (sospiro) liked this post
  25. #1905
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
    Join Date
    Dec 2011
    Location
    Midwestern U.S.
    Posts
    2,697
    Post Thanks / Like
    I'm with Hoffmann -- it's fine if a modern opera is included in the local company's season schedule, but I'd be very concerned if the preponderance of offerings came from the current century or the final decades of the previous one. In its own way, it would be just as limiting as a schedule filled with the repertoire warhorses.

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  


free html visitor counters
hit counter




Official Media Partners of Opera Carolina

Opera Lively is the Official Media Partner of Opera Carolina

Official Media Partners of NC Opera

Opera Lively is the Official Media Partner of North Carolina Opera

Official Media Partners of Greensboro Opera

Opera Lively is the Official Media Partner of Greensboro Opera

Official Media Partners of The A.J. Fletcher Opera Institute and Piedmont Opera

Opera Lively is the Official Media Partner of The A.J. Fletcher Opera Institute
of the University of North Carolina School of the Arts and Piedmont Opera

Official Media Partners of Asheville Lyric Opera

Opera Lively is the Official Media Partner of Asheville Lyric Opera

Official Media Partners of UNC Opera

Opera Lively is the Official Media Partner of UNC Opera
Dept. of Music, UNC-Chapel Hill College of Arts and Sciences

www.operalively.com

VISIT WWW.OPERALIVELY.COM FOR ALL YOUR OPERA NEEDS