San Diego Opera's 60th Anniversary La bohème sees Mimì as a ghost
How Donald Trump gave me writer's block
EditorialAt these very, very low points in the history of humans, the idea of "inspiring" people with art and music feels silly, as though we artists are children being told to go play in the corner while the grown-ups (the doctors and lawyers, et al.) sort out the problem. I suppose it's hard to write about opera with scary nonsense in one's head.
Safe words & Masquerades: Nashville Opera presents Three Way
Interview"I'd love audiences to have the realization that new opera can be as witty and memorable as a good Broadway musical. I also hope they see the light and dark sides of what we're after — beyond the humor there's sadness, strangeness. And the idea that sexuality and gender may be evolving through changing social attitudes and technology — that's real, it's here, and I think it should be celebrated."
Don't miss: Accelerando with Esprit Orchestra
NewsAccelerando is complemented by three world premieres, performed by the Esprit Orchestra, under Music Director and conductor Alex Pauk: Surfacing, part of a triptych commission by Toronto-based composer Adam Scime, El canto del viento, by Argentine-Canadian composer Analia Lludgar hears the premiere of her El canto del viento, and John Rea's Survivance, commissioned in Canada's 150th year and celebrating the indigenous and Francophone communities across the country.
Everyday Arias presents 14 new opera film shorts
NewsThe films' stories are diverse: an intoxicated Elvis in a kebab shop, a young ghazal singer pursuing her dreams, a fish who sings its own requiem, and one tenor's take on Carmina Burana that promises to be "the biggest, boldest, and sexiest operatic flash mob the internet has ever witnessed."
In review: Written On Skin at ROH
ReviewWhat's most thrilling about this Written on Skin was how the piece itself shone through Mitchell's production. Phrases from the libretto - like "blame her for everything" - leapt out as though shouted; Benjamin's use of the glass armonica - the instrument of "hysteria" - is well-timed and significant. Though it didn't overshadow the human stories of Agnès and The Protector, there was clear commentary on free will, and the cruelty inherent in God's creation of man.
Works & Process: Rusalka at the Guggenheim
Interview"I hope that when audience members come to Works & Process, they are stimulated by the conversation on the artist panel, gain a greater understanding and appreciation, feel a closer or more personal connection to the work because they meet and hear the artists’ creative visions, and that seeing our performance inspires them to attend the full work."
Don't miss: Boston Camerata at the AGO
NewsAs part of the presentation, the Boston Camerata has been invited to perform a collection of devotional music from the 16th century. Under the direction of Anne Azéma, the period ensemble consists of four vocalists, and period instruments such as lutes, violas da gamba, vielle, harp and a hurdy gurdy. Yup. A hurdy gurdy. #HurdyGurdy
Summer programs in Europe: 4 things to do on your day off
EditorialDoing some al fresco shopping is a great way to work on your language skills, particularly the words for various foods and units of measurement. You can also get an idea of what different foods cost, and save yourself from getting swindled on future shopping trips. Plus, you can reap the great benefits of a friendly relationship with the woman who sells all the garlic in Sulmona, Italy.
#COC1718
NewsPerhaps the most surprising announcement is the appointment of Canadian soprano Jane Archibald as the COC's new Artist-In-Residence. Archibald sings leading roles in three of the company's mainstage productions next season, including two role debuts. She'll also perform in the Free Concert Series in the Richard Bradshaw Amphitheatre at the Four Seasons Centre, and she'll work as a mentor to the members of the COC Ensemble Studio and the Orchestra Academy.
How to throw a funeral for a viola
Op-edMy viola: you were with me for a thousand mornings. How do you greet an empty room? With Bach of course. Or as time went on, with improv, as your magic worked in me and I felt freer and freer to sing anything from the heart, trusting what would come from you.