Saturday, May 28, 2016
press release: Milwaukee, Wis. (May 25, 2016) – Viswa Subbaraman today announced he will be leaving his position as artistic director of Skylight Music Theatre effective July 31, 2016, in order to focus on his conducting career and commitment to new opera works. Following his departure, he will serve as artistic advisor to Skylight through January 2017. Subbaraman made the announcement as he prepared for a 7 ½ week residency at Opera Saratoga in New York, where he will conduct the American premiere of the major new work by Philip Glass, “The Witches of Venice,” from July 1 -17, 2016. Subbaraman was appointed artistic director at Skylight in September 2012, and launched his inaugural season in 2013-14. …Among the critically acclaimed productions Subbaraman conducted at Skylight were Thomas Ades’ Powder Her Face, Hans Werner Henze’s El Cimarrón, Philip Glass’ Hydrogen Jukebox and a Bollywood version of Beethoven’s Fidelio. He also programmed traditional operas such as Puccini’s Tosca and Rossini’s La Cenerentola, reimagining them for Skylight’s 350-seat Baroque theater. Subbaraman conducted the world premiere of Somtow Sucharitkul’s The Snow Dragon, which became the Skylight Music Theatre’s first international touring production. Most recently, Subbaraman conducted Mazzoli’s Song from the Uproar, a co-production between Milwaukee Opera Theatre and Wild Space Dance Company .
The Music Of Silence | Wigmore Hall 115th anniversary | Duets In A Frame | La Voix Humaine | Eugene Onegin Garsington Opera’s new season begins with the greatest of Tchaikovsky’s operas. Michael Boyd directs and Roderick Williams sings the title role for the first time. There are stagings of Rossini, Mozart and Haydn to come, too. Continue reading...
Glyndebourne, Lewes There’s much to enjoy in Annabel Arden’s new production of Rossini’s comedy, and it is musically impressive once it gets goingGlyndebourne’s new production of Il Barbiere di Siviglia – the festival’s first for more than 30 years, is directed by Annabel Arden – whose approach to Rossini’s comedy is tinged with the surreal. The opera is by an Italian composer and based on the work of a French dramatist, but for Arden the Spanish setting is paramount. Her staging, as she puts it in a programme note, is “about taking inspiration from the Spanish tradition of the grotesque and the marvellous and making a synthesis of it.”The end result is nicely stylised, but of variable impact. The walls of Bartolo’s house are covered with Moorish-influenced blue and white tiles, and dominated by the image of a bird about to take flight, a fitting image for Danielle de Niese’s firebrand Rosina, who is bent on escape. Costumes suggest the 1950s: de Niese’s frocks are modelled on Balenciaga, while Taylor Stayton’s Almaviva wears a silver leather coat and sports an Elvis-style quiff. Continue reading...
The are bringing back a well-worn production to fit a new star. Full details of La Scala’s new season, announced this morning, below: ALEXANDER PEREIRA: THE 2016/2017 SEASON The opening of the 2016/2017 Season with the first version of Madame Butterfly, in the wake of Turandot and La fanciulla del West, marks a vital step in the Puccini project that is so dear to Riccardo Chailly, who on 1 January 2017 will take up his appointment as Music Director, confirming the plan to bring back to Piermarini’s Theatre the works that had their first ever performances here. It is directed by Alvis Hermanis, who is familiar to La Scala fans for two magnificent and very different shows, Die Soldaten and I due Foscari, and the leading lady Maria José Siri is a new and extraordinarily talented voice alongside Bryan Hymel’s Pinkerton. The televising of the event marks 40 years of collaboration between La Scala and the RAI since their partnership in 1976 with Otello conducted by Carlos Kleiber. 2017 opens with three major Verdi productions. Don Carlo returns in the version in five acts that has not been performed at La Scala since the edition conducted by Claudio Abbado 40 years ago. Myung-Whun Chung, a noted authority on Verdi, will conduct a fine cast, of whom we have to mention at least Ferruccio Furlanetto, Krassimira Stoyanova and Francesco Meli. Directed most efficaciously by the great Peter Stein, it translates all the dryness of the signature dramaturgy. Zubin Mehta will conduct Falstaff in the staging by Damiano Michieletto set in Casa Verdi: a decidedly Milanese production with Ambrogio Maestri in the role he is by now synonymous with. La Traviata will be back in March with the lavish staging designed by Liliana Cavani in 1990, with an exceptional protagonist, Anna Netrebko, in the prime of her artistic and interpretative maturity. And it will be the first time conducting Verdi at La Scala for Nello Santi, repository and custodian of the most authentic traditions of Italian melodrama: in October he will also be conducting the revival of Nabucco in Daniele Abbado’s show. Die Meistersinger von Nürnberg by Wagner sets us off on a journey through the musical culture of German Romanticism, which pops up during the Season with two other titles: Hänsel und Gretel and Der Freischütz. Directed by Harry Kupfer, an artist who is woven into the tapestry of German theatre, with Daniele Gatti on the podium, who has already conducted two productions with this title to great acclaim. Michael Volle is simply the finest living interpreter of Sachs. While in 2016, with La cena delle beffe, we brought Verismo back to La Scala, our mission to re-appropriate the Italian repertoire continues now with bel canto. April will see the staging of Anna Bolena with a very young leading lady who comes from our Academy, Federica Lombardi, conducted by Bruno Campanella, who knows Italian melodrama of the early 1800s better than most. And in 1817 Rossini presented The thieving Magpie at La Scala: a masterpiece of the semiseria genre that returns with a great Rossini conductor, Riccardo Chailly, the debut at La Scala of the Oscar-winning director Gabriele Salvatores, and a perfect cast of actor-singers. One of the finest baritones of our time, Thomas Hampson, plays a Don Giovanni torn between vitality and disillusionment in the revival of the staging by Robert Carsen, conducted by Paavo Järvi, whose Mozart interpretation won me over in Vienna. The revival of Franco Zeffirelli’s historic Bohème, then, is the occasion of a La Scala debut for one of the soprano revelations of recent years, Sonya Yoncheva. On the podium will be Evelino Pidò, who comes from our orchestra, but despite his brilliant international career has conducted only a performance of Rigoletto at La Scala before now. The twentieth anniversary of the death of Giorgio Strehler will be marked by performing one of his most magical shows, Die Entführung aus dem Serail, conducted by the person who held him at his baptism in Salzburg in 1965: Zubin Mehta. Humperdinck’s Hänsel und Gretel is the Academy project this year: conductor Marc Albrecht and director Sven-Eric Bechtolf will work together for months with the young artists to create a performance that is up to La Scala standards in all respects. One of the most cherished programmes the Orchestra is engaged in is the formation of an ensemble playing historical instruments: the latest step on this path is Handel’s Tamerlano, which brings one of Italy’s finest directors, Davide Livermore, to La Scala for the first time, with extraordinary singers such as Plácido Domingo and Bejun Mehta. Another important date with directing is Der Freischütz, staged by Matthias Hartmann, the former director of the Burgtheater in Vienna, and conducted by Myung-Whun Chung. To conclude the Season, we are presenting the world premiere of the new opera by Salvatore Sciarrino, Ti vedo, ti sento, mi perdo, directed by Jürgen Flimm, who is bound to the Italian composer by a friendship that strengthens their artistic affinity. It is conducted by the young Maxime Pascal, founder of an orchestra dedicated to contemporary music in Paris. The Ballet Season, which is the first one for Director Mauro Bigonzetti, is the first step along a path of progression for the Corps de Ballet of La Scala. The titles increase from six to seven, in addition to the Ballet School show, and for the second year in a row, Opening Night brings another first, Coppélia by Bigonzetti with Roberto Bolle. The historical choreographies of Balanchine, Fokin, Tetley and MacMillan are bolstered by the innovation of Eugenio Scigliano, and for the first time a piece choreographed by artists from the Corps de Ballet, who are engaged in an unprecedented challenge. Also returning is Swan Lake by Alexei Ratmansky, an artistic reconstruction of the choreography of Petipa and Ivanov. There is a considerable element of pride in the quality of the music: the ballets will be conducted by maestros such as Zubin Mehta, Paavo Järvi, Michail Jurowski, Patrick Fournillier, Felix Korobov and David Coleman. The concert programme includes the greatest living conductors. Riccardo Chailly will be on the podium for two evenings of the Symphony Season, Verdi’s Requiem in October, and the concert to celebrate the 150th anniversary of the birth of Arturo Toscanini on 25 March 1867. The Symphony Season also sees the return of legends such as Christoph von Dohnányi (who also conducts the Christmas Concert), Georges Prêtre and Bernard Haitink; while for the Extraordinary Concerts, we will listen to Mariss Jansons with the Bayerischer Rundfunk. Finally, we are delighted to welcome Riccardo Muti back to La Scala. He returns with two concerts with the Chicago Symphony, to conduct once again in the Theatre that he was Musical Director of for 19 years. Completing the programme are singing recitals, including some of the most celebrated voices on the international scene. One of the projects dearest to my heart is the “Great Shows for Children” programme, which next year, too, will bring tens of thousands of kids and their parents to La Scala to discover operas of the great repertoire in shortened form and featuring the musicians of the Academy. Added to the revival of Cinderella for Children is Il ratto dal serraglio (The Abduction from the Seraglio) by Mozart, in Italian and coinciding with the complete edition in the Opera Season, and five concerts preceded by an introduction for children. See you in your Theatre. Alexander Pereira
Joyce di Donato has entertained us and give us much pleasure and amazing memories. This recording adds to our experience. Here is a rather long list of what we get to listen to: Arlen: Over the Rainbow Berlin, I: I love a piano Bolcom:to, Amor Curtis, E: Non ti scordar di me Dougherty, C: Love in the Dictionary Foster, S: Beautiful Dreamer Haydn: Arianna a Naxos, cantata, Hob.XXVIb/2 Kern: The Siren’s Song (from Leave it to Jane) Go Little Boat (from Oh, my dear) Life upon the wicked stage (from Show boat) Can’t help lovin’ dat man (from Showboat) All the things you are (from Very Warm for May) Moross: A Lazy Afternoon Nelson, H: Lovely Jimmie in Four Irish songs, from an anonymous Irish song Rodgers, R: My Funny Valentine Rossini: Beltà crudele Soirées musicales: La Danza Santoliquido: I canti della Sera Villa-Lobos: Food for thoughts (from Magdalena) Performed by Joyce DiDonato (mezzo-soprano) & Antonio Pappano (piano) London’s Wigmore Hall is an intimate place — this hall holds 550 people – and it is one of the world’s great concert halls. Its acoustic is legendary, and great singers of the past who have appeared there include Enrico Caruso, Nellie Melba, Elisabeth Schwarzkopf and Victoria de los Ángeles. To open its season is a special honor for any musician, and in September 2014 that honor went for the second time to American mezzo-soprano Joyce DiDonato. The pianist for the occasion was none other than Sir Antonio Pappano, who generally devotes his time in London to his duties as Music Director of the Royal Opera House, Covent Garden. The Times described the pair as “mezzo diva supreme” and “golden maestro and piano accompanist to the stars”. The first item on the program was Haydn’s dramatic cantata Arianna a Naxos. DiDonato, who nicknames herself ‘Yankee Diva’, is from Kansas, and the London-born Pappano moved to Connecticut as a teenager, so it was fitting that the rest of the program was dominated by American composers. The Guardoan wrote last year: “Last year’s recital by the dream duo of Joyce DiDonato and Antonio Pappano works wonderfully as a double CD – arguably more effective than the concert itself…DiDonato’s immaculate voice relishes every vowel sound, Pappano responds with pianistic wit and idiomatic invention. Ad libs and applause are judiciously included. All a delight.”
In addition to her highly anticipated performances in I Capuleti e i Montecchi at the Gran Teatre del Liceu, Joyce DiDonato presents three recitals throughout Spain in the month of May. She reunites with pianist Craig Terry for these engagements, following their critically acclaimed tour of South America and Mexico. The programme features works by Ravel, Rossini, Luna, and more, taking place at Lisbon’s Grande Auditório on May 22 , Barcelona’s Gran Teatre del Liceu on May 27 , and on May 30 the duo performs at Madrid’s Teatro de la Zarzuela.
Great composers of classical music