Wednesday, 26 May 2010

German opera singer Anneliese Rothenberger dead


Tue May 25, 1:10 pm ET
BERLIN (AFP) – German opera soprano Anneliese Rothenberger has died aged 83 after a short illness, friends of the artist said on Tuesday.

Rothenberger, who sang the world over with the best in the business including in Milan's La Scala and the Metropolitan Opera in New York, died in hospital on Monday evening near her home on the Swiss side of Lake Constance.

She also had her own television show in Germany and appeared in numerous musical films. Rothenberger last sang publicly in the late 1980s before retiring after being diagnosed with bowel cancer.

She declined to launch a comeback after recovering, telling Stern magazine: "People said to me on the street, 'It's a shame you don't sing any more.
"I thought to myself that that was preferable to people saying, 'That old woman is still singing'."

Some sources give her age as 85.

Tuesday, 25 May 2010

Placido never gives up...


Domingo continues to amaze opera lovers by adding another tenor lead to his shelf of heroes - in this case, Giuliano de' Medici in Leoncavallo's rarity I Medici.
Recorded in the Medici city, Florence, it is the one and only complete recording of this work on the market: A must buy for every Domingo fan and lover of verismo.
I Medici was first performed in 1893, the year after Leoncavallo's Pagliacci put the composer on the map.
Plácido Domingo (Giuliano de' Medici), Carlos Álvarez (Lorenzo), Daniela Dessì (Simonetta), Eric Owens (Montesecco), Vitalij Kowaljow (Poliziano)
Florence Opera Orchestra and Chorus, Alberto Veronesi

Buy from:
“The role of Giuliano de’ Medici...is a good vehicle for Placido Domingo, who may not sound youthful, but still has plenty of juice in the middle of his voice. Daniela Dessi is touching as the love interest, Simonetta, Carlos Alvarez hectors as Lorenzo, and Eric Owens blusters darkly as the plotter Montesecco. Alberto Veronesi conducts with flair and conviction.” Sunday Times, 23rd May 2010 ***

Exciting new names !








Pictures from top: Daniel Grice, Luciano Botelho, Mark Milhofer, Julia Lezhneva.

Classicalify is constantly looking out for hot new voices, exciting young artists who is coming, voices that will fuzz us up, make us shiver and make us believe in the future of classical music and opera.
Recently we have found some outstanding singers at different performances in London.

DO NOT forget these names:

Julia Lezhneva, Russian soprano.
More info here:

Mark Milhofer, English tenor.
More info on his homepage:

Luciano Botelho, Brazilian tenor.
More info on his homapage:

Daniel Grice, English Bass/Bariton.
More info here:
Please remember you saw these names first on Classicalify!!!




Guillaume Tell, Chelsea Opera Group, QEH, London Southbank

(Swiss artist Fuseli's depiction of the oath on the Rütli, grand finale to Rossini's Act Two)

Here's a review of Chelsea Opera Group's concert last night, a concert Classicalify much enjoyed!

Monday, 24 May 2010 08:32 Written by David Nice

Was Rossini, credited with the unsinkable comment that Wagner had "beautiful moments but bad quarters of an hour", hoist by his own petard in his last and grandest opera? For while Wagner, at least in performances as well-paced as the one I heard of Siegfried in the hands of last night's valiant field marshal Dominic Wheeler, really ought to have no dull moments, Rossini's Guillaume Tell offers many stunning quarters of an hour but just a couple which are so-so. In Chelsea Opera Group's blazing concert performance, however, none of it was less than compelling.

All three and a half hours of it, that is, rather than the full-pelt four, because cuts there were, most regrettably the piquant ballet music Rossini had to serve up for Paris in 1829. What there was came across as gleaming, thrusting and wonderfully evocative of the Swiss nature which was clearly a major driving force behind the composer's inspiration; with tone-painting of this quality, and respect for many of the composer's spatial effects, we could well do without the kind of fustian staging I dimly remember from the opera's last airing at Covent Garden 20 years ago.

And all this from an amateur, or rather semi-professional orchestra. Wheeler, left arm in a sling as the result of a severed tendon, conducted economically with his batonless right hand, making sure that the four-scene narrative of the overture didn't fire on all cylinders as it can afford to in the concert hall when there's less to come. Rushing waters, rustling forests and ferocious storms acquired their full force over the span of the evening. Though intonation, starting with that treacherous cello solo, could go awry, the fullness of sound and definition of phrasing were never in doubt, reminding us that even when Rossini could go a little into French-grand-opera autopilot, he gives the players a phrase, a colour or a counterpoint of unnatural felicity.Yet despite the epic scope, this is still Italian bel canto at heart, and COG's casting skills, excellent in the leads but not the bit parts of their last offering, Verdi's La traviata, yielded top form last night.

The real showstopper was tenor Mark Milhofer, a singular voice in a thousand - feminine-toned but able to pull out a few crucial stops, fast-vibratoed but infallibly musical in every phrase. A born lover and poet rather than a warrior, he brought sheer operatic magic to most of what he sang: not just the sylvan beauties of Arnold's Act Two duet with the princess on the wrong side of the Swiss cause and the plangency of "Asile héréditaire" but, most surprisingly, in the depth of emotion when Tell informs him that the father we've hardly met has been murdered by villainous Austrian tyrant Gessler. Could tears really have sprung to my eyes in this stock Italianate moment, I wondered? They had, and they returned surprisingly regularly in a drama which stresses the fragile bonds of parents and children.

Jonathan Summers, too, rose to the challenge of the limpid cavatina in which he bids son Jemmy keep still while he attempts to shoot the arrow through the apple on his head. Every key moment - this, the proud declamation of "I am William Tell still" and the curse on the oppressors - made its mark; and yet Summers seemed less involved than the other singers, eyes fixed on the score or cast down when sitting and waiting. With much more to make of this than his absurd role in Rufus Wainwright's Prima Donna, he proved at least that he's still the authentic Italianate baritone, a slot which younger singers like Gerald Finley and Simon Keenlyside struggle to fill.

More evidently delighted with the rest of the proceedings was Patrizia Biccirè, a relatively late replacement for the Princess Mathilde of Majella Cullagh, and a real class act: ever so slightly light for the part, but, like perfect match Milhofer, a true stylist with the more florid writing and weaving pure enchantment with him in the depths of the Rütli woods - a magic much abetted by the forest murmurs of clarinettist Alan Maries. Her wind-and-brass-backed Act Four trio with the other ladies, the admirable Sarah Pring as Mrs Tell and well-cast Eva Ganzaite as plucky Jemmy, was another moment where time stood still.

Not every COG event is cast from strength throughout, but this one, with its large dramatis personae, certainly was, even if Matthew Hargreaves's villain seemed to be struggling with incipient infection. Who'd have guessed we have so many good young basses in store? Frédéric Bourreau as Tell's father-in-law Walter added gravitas and soft sympathy to another vital trio; Daniel Grice poured dramatic conviction into his brief appearance as the fugitive murderer of an enemy would-be-rapist. We even had a second true Rossini tenor, last-minute replacement Luciano Botelho, for the fisherman's little romance: a real find as the Brazilian, rather in the Florez mould, is off to sing Almaviva at the Royal Opera next season.

The valiant COG Chorus struggled a bit at times with some very elaborate choral writing, and it would be helpful if the male contingent could be reinforced for occasions like this with a few young voices from the London music colleges. But their immense spirit was a long way from the rather too English demeanour of a larger amateur body like the LSO Chorus, and they backed up the big moments with aplomb. The last is the best of all, a final hymn to nature and liberty as the sun lights up Lake Lucerne and Rossini paves the way for Wagner. It was impossible not to share the elevation of spirits at the end of a remarkable evening.

Next Chelsea Opera Group performance will be of Cherubini's Medée at the Cadogan Hall on 20 November
More off-the-beaten track Rossini with Garsington Opera's new production of Armida, opening on 5 June

Monday, 24 May 2010

Billy Budd at Glyndebourne Festival, review

Rupert Christiansen was enthralled beyond his wildest hopes by this stupendous achievement. Rating: * * * * *

I admit I’d have been surprised if Glyndebourne’s first production of Billy Budd had been less than a success. Britten’s magnificent music drama, the proven talents of conductor Sir Mark Elder, director Michael Grandage, and a superb cast led by John Mark Ainsley’s Captain Vere – well, with that combination of elements, you’d need to be pretty incompetent to muck things up.
But I was still enthralled beyond my wildest hopes by this stupendous achievement, and scarcely know where to begin lavishing praise. If there are any tickets for the remaining performances, I can only urge every serious opera-lover to go to murderous lengths to acquire them.

Mark Elder’s conducting held the score in an iron grip. Never one to rush things or skate over details, he drove the London Philharmonic Orchestra to the music’s depths, generating overwhelming power and emotional impact in the great climaxes – the haunting sounds of Billy’s hanging are still echoing in my ears as I write.

Grandage’s immaculate staging offers a rare authenticity. In Christopher Oram’s breathtaking hulk of a set, the world of a man o’ war in the Napoleonic era is evoked with a scrupulous accuracy that never becomes pedantic period reconstruction. This isn’t a wilfully original interpretation (the old Vere’s ghostly appearance at Billy’s demise is its only innovation), but it is one of supreme intelligence and scrupulous respect for the text.

Grandage captures all the ship’s sweaty shut in-ness, the hierarchy of its officers, the rigours of naval discipline, and the rituals of rope and sail.

The story-telling is pellucid, the characterisation focused down to the last rating. All I could have wished for was a little more imaginative playing-out of the repressed erotic tension – the essential queerness – between Billy, Claggart and Vere.

But Philip Ens makes a fascinating Claggart, as cool and sure as a panther, in contrast to the helpless, educated decency of John Mark Ainsley’s Captain Vere, sung with a marvellous warmth of phrase and fullness of line.

Jacques Imbrailo is a radiant Billy with a terrifyingly violent stammer, and the award-winning young tenor Ben Johnson makes his mark as the Novice, as do four top-notch basses – Ian Paterson (Redburn), Jeremy White (Dansker), Matthew Rose (Flint) and Darren Jeffrey (Ratcliffe).

Then there is the legendary Glyndebourne Chorus, lifting the roof off the place under its new master Jeremy Bines. A great and unforgettable evening.

Ottone in Villa, Barbican London

Premiered in 1713, Vivaldi's bitter little comedy Ottone in Villa was his first opera and stands, in some respects, at a tangent to its successors. At just over two and a half hours, it is short by his standards, while its taut dramaturgy precludes the sprawling quality that hampers his later stage works.

The subject – standard 18th-century fare, but handled with great sensual frankness and moral astuteness – is the relationship between desire and politics.
We know the Ottone of the title better as the cuckolded husband in Monteverdi's The Coronation of Poppaea, and also as the hapless Roman emperor Otho, who briefly ruled in the aftermath of Nero's deposition. Vivaldi presents him holed up in his villa, ignoring reports of the empire's dissolution as he becomes increasingly embroiled with his mistress Cleonilla, who is playing various lovers off against each another behind his back. Things get very out of control when she falls for one "Ostilio" who is really the vengeful Tullia in drag, out to reclaim her errant former lover Caio.

Caio's emotional and moral anguish gradually exposes the self-seeking superficiality that surrounds him. An exacting, complex role, it was sung unforgettably in this concert performance by Julia Lezhneva, who combines flawless technique with emotional veracity. Sonia Prina's Ottone was all rapid-fire coloratura and smug self-deception. Roberta Invernizzi overdid Tullia's tantrums a bit, while Veronica Cangemi's waspish Cleonilla wasn't quite laidback enough for a woman who at one point muses contentedly about the scent of men's bodies. The playing from Il Giardino Armonico, under Giovanni Antonini, was stylish if not quite impeccable.

The Guardian
****

Sunday, 23 May 2010

La Fille Du Régiment by Donizetti. London.

The hottest opera ticket in London took over three hours to buy when season booking opened earlier this year. With a star quality cast of Juan Diego Florez as Tonio and Natalie Dessay as Marie. And not to forget Dawn French as La Duchesse du Crakentorp.
Donizettis famous opera is set in 1840 but the scene of this production is the first world war.
A young girl named Marie is adopted by the french 21 regiment having been found on a battle field with only a letter signed Berkenfeld. Many years later she is loved by the whole regiment and she becomes a daughter of the regiment.
This London production has everything. It has become one the most popular productions of the Royal Opera House. Main reason is the cast. Juan Diego Florez is the most famous tenor of our time and his speciality is bel canto opera. The role of Tonio is famous for the aria Ah! mes amis quel jour de fete!. It contains nine high C's. Does Florez deliver?. Yes of course he does.
His voice is crystal clear and so delightful to hear that it's mind blowing. The chemistry between him and Dessay is just amazing. Natalie Dessay not just only sings wonderful she can also act.
This is a part that was made for her.
The whole cast is just a joy to hear. Ann Murray is delightful as Marquise du Berkenfeld and the other high light of the evening was miss Dawn French.
Is there anything this wonderful actress can't do?. If there is any production worth going to it's La Fille Du Régiment in London.

Giuseppe Verdis "AIDA". Royal Opera House London.


This new production by David McVicar had no reference to Egypth at all.
No pyramids or elephants. McVicar has focused mainly on the war and human sacrifice in this production. Yes this is an opera about a war. But we don't see a battle field what so ever.
In "Aida" there is love, loyalty and jealousy. Yes we do get some of that but it doesn't get ground in this production. The singers Marcelo Alvarez as Radames, Micaela Carosi as Aida and Marianne Cornetti as Amneris do their best to show just that but it doesn't go very far.
It was how ever a production worth attending to hear the singers. But that's not the problem.

The problem is the production. When Classicalify bought the ticket we were warned about nudity and blood. And with good intentions. But we have seen blood and nudity before so that didn't come as a suprise. If the director wants us to remember just that and nothing else well he hasn't failed. Getting even ground with the other elements of the story is the problem.
And sadly on an acting level it didn't help either.
But on the other hand how many chances do you get to see "Aida".
Not many. The orchestra of the royal opera house was in good hands under Nicola Luisotti
they performed wonderful as always.

Thursday, 20 May 2010

Malfitano "Tosca" at ENO


Dear ENO supporter,

Here’s what the papers had to say about Catherine Malfitano's new production of Tosca...


This is an intelligent and forceful interpretation
Daily Telegraph

This new Tosca, which is an outright triumph
Classical Source

Amanda Echalaz's Tosca is very special, compelling to watch, thrilling to hear
The Guardian

Amanda Echalaz looks fantastic, is a terrific actor and combines gleaming vocal strength with melting vulnerability
Metro

Echalaz...she has a big, juicy sound, powerful from its coppery bottom to its glinting top
The Times

Echalaz is a singer with huge potential
Evening Standard

She is the Tosca of one's dreams and a reason to see the show
Metro on Amanda Echalaz

Her beautiful soprano is produced with fluent ease, and her singing is clear in diction and sensitive to musical line
Daily Telegraph on Amanda Echalaz

Amanda Echalaz takes on the title role...Her rich and finely-balanced voice is up to every one of Tosca's demands, and she shapes the line beautifully
The Stage

Julian Gavin's ardent, ringing Cavaradossi is superbly accomplished
Evening Standard

Julian Gavin, has a beefy, unstinting delivery he phrases and shades with laudable generosity and sensitivity
The Independent

Julian Gavin's Cavaradossi is a wonderfully heroic figure
The Guardian

Julian Gavin made an excellent Cavaradossi
Daily Telegraph

Anthony Michaels-Moore...slithers around Scarpia's oleaginous threats with gruesome flair
The Times

Anthony Michaels-Moore's Scarpia stood out
Musical Criticism

The sensitivity and intensity of Edward Gardner's conducting binds these performances admirably
Evening Standard

Gardner has such instinctive feeling for everything he touches...He is ENO's no longer secret weapon
The Independent

Edward Gardner's inspired, almost possessed, conducting
Whatsonstage

Edward Gardner's detailed and magnificently confident reading of Puccini's score
The Stage

Edward Gardner ripely and excitingly coaxing his orchestra to swoon and thunder without inhibition
The Independent

Gardner was alive to every twist and turn in the unfolding drama, matched every fearless step of the way by the ENO Orchestra and Chorus
Whatsonstage

The orchestra is on virtuoso form and the result is consistently gripping
The Stage


Tosca runs until 10 July
13 performances remaining
Tickets from ONLY £20

Wednesday, 19 May 2010

Briton to take on Royal Opera in Denmark


Successful British opera director Keith Warner has been announced as the new director for the Danish Royal Opera House.

Warner has more than 150 plays, musicals and operas under his belt and will replace current opera director Kasper Holten when he steps down at the end of July 2011.

From the start of June this year, Warner will act as a consultant for the theatre.The Englishman directed Wagner’s Ring cycle to much acclaim in both Tokyo and London and has previously guest directed at the Royal Opera House in Copenhagen when he directed Mozart’s Don Juan in 2006 and Berg’s Wozzeck in 2008.

Director General of the Royal Danish Theatre Erik Jacobsen called Warner’s appointment a ‘scoop’.‘Keith Warner is a deeply engaged person, a fantastic motivator and a great artist. His experience in both the artistic and leadership areas of the opera world is very exciting,’ Jacobsen said.

Tuesday, 18 May 2010

Birgit Nilsson’s home becomes a museum


A new and exciting attraction is opening in southern Sweden – the Birgit Nilsson Museum.

Just as Birgit Nilsson once metamorphosed from farmgirl to celebrated artist, her childhood home is being transformed from an ordinary farm into a center where memories of her glamourous career are brought to life. During her long international career Birgit frequently returned to her childhood home, which still contains personal mementos of her past.

The residence and the stables, which have been converted into a café, will open for visitors on May 23, 2010.

Opening cermony, Sunday may 23
2 p.m. - 2.30 p.m.
Ribbon-cutting by Count Carl-Johan Bernadotte with Opening speech by Lars H Ericson, Chairman Birgit Nilssons Minne AB.
2.30 p.m. - 3.15 p.m.
Song and music performanceLead piano: Lars Roos, song: Gitta Maria Sjöberg, Susanne Resmark and Elisabeth Meyer Topsoe, accomapanist: Anders Wilhelmsson
3.15 p.m. - 5 p.m.
Public viewing of Birgit Nilsson Museum
Free admission.
New exhibition opens in 2011
A new exhibition "Birgit Nilsson - a star in the World" opens in time for the 2011 season. The exhibition depicts Birgit Nilsson's amazing career. There will also be given the opportunity to listen to audio recordings and watch movie clips.

Birgit Nilsson Museum Opening hours 2010
May 23 - September 12:
Tuesday-Sunday 11 a.m. - 5 p.m.
Closed Mondays and June 25-26.

Contact & address
Birgit Nilsson Museum
Birgit Nilssons Väg 27
SE-269 91 Båstad, Sweden
Tel: (+46) 0431-31 18 60


www.birgitnilsson.com - the official website

The official website, birgitnilsson.com, is currently being translated into English and will be launched soon.

Birgitnilsson.com is the site for anyone who wants to know more about "La Nilsson’s" amazing life and career.

Komische Oper Berlin 2010-2011


Today Komische Oper Berlin released their 2010-2011 season. Ticket sales starts on May 19. And are we lucky... Classicalify favourite director Calixto Bieito will do Poulenc's "Gespräche der Karmelitinnen"... THAT is worth a trip to Berlin we guess!

New productions next season are:

26. September 2010
Die Meistersinger von Nürnberg
Oper in drei Aufzügen von Richard Wagner
Text vom Komponisten
24. Oktober 2010/Uraufführung
Die Schneekönigin
Märchenoper in zwei Akten von Pierangelo Valtinoni
Libretto von Paolo Madron Deutsche Textfassung von Frank Harders-Wuthenow und Werner Hintze Auftragswerk der Komischen Oper Berlin
28. November 2010
Im Weißen Rößl
Singspiel in drei Akten von Ralph Benatzky
Libretto von Hans Müller und Erik Charell Gesangstexte von Robert Gilbert
20. Februar 2011
Rusalka
Lyrisches Märchen in drei Akten von Antonín Dvořák
Libretto von Jaroslav Kvapil Deutsche Textfassung von Bettina Bartz und Werner Hintze
10. April 2011
Salome
Musikdrama in einem Aufzug von Richard Strauss
Nach Oscar Wildes gleichnamiger Dichtung
14. Mai 2010
Idomeneo
Dramma per musica in drei Akten von Wolfgang Amadeus Mozart
Libretto von Giambattista VarescoDeutsche Textfassung von Bettina Bartz und Werner Hintze
26. Juni 2011
Gespräche der Karmelitinnen
Oper in drei Akten von Francis Poulenc
Libretto vom Komponisten nach Georges BernanosDeutsche Textfassung von Peter Funk und Wolfgang Binal

Monday, 17 May 2010

Verdi's "Giovanna d'Arco" in Stockholm

Classicalify hear that Folkoperan in Stockholm will do Verdi's early masterpiece "Giovanna d'Arco", probably spring 2011.
Lucky Stockholmers!
Listen to Montserrat Caballé together with Placido Domingo when she rocks the coloraturas in this masterpiece on EMI under James Levine, and you understand why you Stockholmers should be lucky!

Sunday, 16 May 2010

Guillaume Tell by Rossini

Classicalify recieved late news about cast change for Chelsea Opera Group's "Guillaume Tell" on Sunday May 23 in Queen Elizabeth Hall at the Southbank in London:

Please note: Unfortunately, Majella Cullagh, who was to have sung the role of Mathilde, has had to withdraw for family reasons. Her place will be taken by the Italian soprano Patrizia Biccirè, who has worked with many leading conductors and has sung at opera houses throughout Europe. She is known to London audiences from her Covent Garden roles as Oscar in Un ballo in maschera and Serpetta in La finta giardiniera. COG is delighted that she has agreed to sing this role at such short notice.



Of course we will be there, so later we can tell you if the change was to our liking!

For info about Chelsea Opera Group:

Saturday, 15 May 2010

Renée Fleming visits a “new universe” with Dark Hope


She does it again... Classicalify favourite soprano Renée Fleming turns to pop... Believe it or not!

New CD "Dark Hope" will be released in late May. We're really looking forward to it, as we are a little bored with all the soprano ordinary mish-mash from her. Go for it girl!


Track listing:

Endlessly (Muse)
No One's Gonna Love You (Band of Horses)
Oxygen (Willy Mason)
Today (Jefferson Airplane)
Intervention (Arcade Fire)
With Twilight As My Guide (The Mars Volta)
Mad World (Tears For Fears)
In Your Eyes (Peter Gabriel)
Stepping Stone (Duffy)
Soul Meets Body (Death Cab For Cutie)
Hallelujah (Leonard Cohen)

You can see trailer video and find all the info you need with this link:

CD can be ordered from http://www.amazon.com/

Friday, 14 May 2010

The BP Summer Big Screens


Join us at the greatest FREE opera and ballet open-air events of the summer!
The BP Summer Big Screens are the perfect way to introduce friends and family to the Royal Opera House and to world-class opera and ballet. Come early to get a good spot and relax into the festival feel. Featuring exclusive backstage films, competitions and live interaction, these screenings bring the best performances live to your home town absolutely FREE!

So if you, like Classicalify, is in London now or then, or live in the UK... Enjoy!

Use this link to read all about it on Royal Opera Covent Gardens homepage:

Westbroek to show off her Isolde in 2013

Eva-Maria Westbroek, dutch soprano and favourite of this blog, will sing her first Isolde on the 16 November 2013 in Dresden in a production by Marco Arturo Marelli. This is splendid news - at least to us! Westbroek is, in tough competiton with Nina Stemme, the best jugendlich-dramatische around today. Her gorgeous voice with the sound of an amped up Te Kanawa, should be ready for the more heavier roles. Dare we hope that this will be with the Semper Opera's new chief conductor, Christian Thielemann?

Thursday, 13 May 2010

The Met: Live in HD 2010–11 Season


Along with the company’s plans for the 2010–11 season’s new productions and revivals, the Met today announced the lineup for next season’s Live in HD performances. Now in its fifth year, the Peabody Award-winning series will present a record 11 live transmissions to movie theaters worldwide.


The schedule is as follows:

October 9 Wagner’s Das Rheingold James Levine; Wendy Bryn Harmer, Stephanie Blythe, Patricia Bardon, Richard Croft, Gerhard Siegel, Bryn Terfel, Eric Owens, Franz-Josef Selig, Hans-Peter König

October 23 Mussorgsky’s Boris Godunov Valery Gergiev; Ekaterina Semenchuk, Aleksandrs Antonenko, Oleg Balashov, Evgeny Nikitin, René Pape, Mikhail Petrenko, Vladimir Ognovenko

November 13 Donizetti’s Don Pasquale James Levine; Anna Netrebko, Matthew Polenzani, Mariusz Kwiecien, John Del Carlo

December 11 Verdi’s Don Carlo Yannick Nézet-Séguin; Marina Poplavskaya, Anna Smirnova, Roberto Alagna, Simon Keenlyside, Ferruccio Furlanetto, Eric Halfvarson

January 8 Puccini’s La Fanciulla Del West Nicola Luisotti; Deborah Voigt, Marcello Giordani, Juha Uusitalo

February 26 Gluck’s Iphigénie en Tauride Patrick Summers; Susan Graham, Plácido Domingo, Paul Groves, Gordon Hawkins

March 19 Donizetti’s Lucia di Lammermoor Patrick Summers; Natalie Dessay, Joseph Calleja, Ludovic Tézier, Kwangchul Youn

April 9 Rossini’s Le Comte Ory Maurizio Benini; Diana Damrau, Joyce DiDonato, Susanne Resmark, Juan Diego Flórez, Stéphane Degout, Michele Pertusi

April 23 Strauss’s Capriccio Andrew Davis; Renée Fleming, Sarah Connolly, Joseph Kaiser, Russell Braun, Morten Frank Larsen, Peter Rose

April 30 Verdi’s Il Trovatore James Levine; Sondra Radvanovsky, Dolora Zajick, Marcelo Álvarez, Dmitri Hvorostovsky

May 14 Wagner’s Die Walküre James Levine; Deborah Voigt, Eva Maria Westbroek, Stephanie Blythe, Jonas Kaufmann, Bryn Terfel, Hans-Peter König

Wednesday, 12 May 2010

Gasometer in Stockholm again...


Those of you reading Swedish, daily morning paper SvD today have the story of the gasometer transforming to a new culture centre opening 2013. We keep our fingers crossed that it will work this second time.

Read the full article via this link (in Swedish):

BBC TV goes opera

IF you are lucky enough to live in the UK, you can spend your time with BBC TV in May and June. WHEN do we get something like this on TV in poor opera countries in northern Europe?

24 May BBC FOUR - Opera Italia (1/3) Antonio Pappano on a journey through Italy exploring the central role that opera plays in Italian history and culture. Followed by a performance of Le Nozze di Figaro, in David McVicar's production for the Royal Opera.

25 May BBC FOUR - Fry on Wagner Stephen Fry explores his passion for Wagner

26 May BBC FOUR - Diva Diaries An insight into the life of Danielle de Niese, beginning with her final performance of Giulio Cesare (pictured) and following her as she prepares and performs Susanna

29 May BBC TWO - What Makes a Great Soprano? Dame Kiri Te Kanawa explores the technical, physical and artistic demands of her craft

31 May BBC FOUR - Opera Italia (2/3) Followed by a performance of Aïda

1 June BBC FOUR - Rick Stein's Taste of Italian Opera TV chef Rick Stein traces the role that food played in the creation of Italian opera and discusses this with experts from the opera world

2 June BBC FOUR - What Makes a Great Tenor? Rolando Villazón explores the technical, physical and artistic demands of his craft

7 June BBC FOUR - Opera Italia (3/3) followed by a performance of La Bohème

12 June BBC TWO - Verdi – The Director's Cut traces new productions by Graham Vick of Aida and Othello

19 June BBC TWO - Verdi: Othello Graham Vick's production with the Birmingham Opera Company

22 June BBC TWO - Gareth Goes To Glyndebourne (1/3) Gareth Malone joins the production team at Glyndebourne in the role of youth chorus leader on his first opera

29 June BBC TWO - Gareth Goes to Glyndebourne (2/3)

3 July BBC TWO - Imagine: Plácido Domingo A repeat of the profile broadcast last year

6 July BBC TWO - Gareth Goes to Glyndebourne (3/3)

10 July BBC TWO - Verdi: Simon Boccanegra featuring Plácido Domingo in the title role, from Covent Garden.

8 September BBC TWO - Rigoletto From Mantua

Christmas 2010 BBC TWO - Don Giovanni Glyndebourne Festival Opera's new production, directed by Jonathan Kent

Peter Mattei in New York

http://http//www.youtube.com/watch?v=ffzwHFDwE5k&feature=related

Well, don't we just like this...
Swedish world star Peter Mattei is going for it in Baden-Baden Festspielhaus.

Use the link in your browser to enjoy Peter!

Tuesday, 11 May 2010

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