"What does 18th-century opera have to offer us now when we face such existential challenges? Haymarket's tenth season highlights the transformational power of beauty as presented through myth, storytelling, and exquisitely timeless music by one of western music's most empathetic and compassionate composers."
Wrapping his selection of American art songs with works from poets who are celebrated and time-honored masters may partially explain why Powell has arranged the songs somewhat thematically rather than by composer. Whatever his rationale, "Billy in the Darbies" remains the soul of this undertaking.
“It's going to be like a torpedo of Mimì and Rodolfo's emotional trajectory. There's no pause to reflect. It's going to go straight through from the moment they meet until the end. As a director that's very exciting. It makes us shine a light on some of the emotional aspects that sometimes get glossed over," she adds.
In a pandemic-ridden world, this is my call for kindness, patience, and compassion. It all begins with schmoozing.
On the micro level, the Twin Cities has a thriving opera and theater community filled with small grassroots companies. I hope these companies survive and continue to engage their audiences until live performances are safe.
Throughout his career his dedication to Shakespeare was unwavering. It was said that he could recite extended passages from Shakespeare's work with eloquence often surpassing that of cultivated speakers in his England, his adopted homeland.
Thankfully, Odyssey Opera thought a little ahead of the curve: for the next album in their recordings of newer opera, they have opted to put The Trial at Rouen on Boston Modern Orchestra Project's recording label, BMOP/sound, and with the same cast that performed it in December 2017, no less!
These are strange times, and I am still not convinced that going virtual is the way. Has it afforded us some opportunities we would not have had otherwise? Sure. Has it required us to get creative in ways we could not have imagined? Certainly.
I think Neef has been playing a different game than Canadian opera fans. He was making the COC a new hub in the international opera scene, and we were loving the big gets onstage.
This was a piece that did not feel as though it existed musically as a complete score but more so in the gathering of people together, in the physicality of the performance space, and in the unknowable magic that occurs in the moment of performance itself.