This album of music for lyric voice, clarinet and piano is the work of four new-generation Iranian composers brought together for this unprecedented production. After choosing one of Omar Khayam’s quatrains, each of them composed a piece of music inspired by his favourite text, recreating the universe imbued by these poems that resonate from the depths of time.
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Based on an ancient tale from pre-Islamic Arabia, Zarqa Al Yamama tells the story of a legendary woman born to the Geddes tribe and blessed with the gift of foresight. Foreseeing the approach of a rival army that threatens to destroy her people, the story follows the heroine as she attempts to warn her leader and his advisors of the impending danger.
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Dann Barber’s all-purpose unit set was deceptively simple and highly effective, proof positive that even in a grand, capacious venue like the Palais, and within a lumbering, overstated comedic farce, sometimes the simplest scenic conceits, well-executed, are all that is required.
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Le Roi d’Ys. The soloists, the fine Hungarian National Choir of about 50, but sounding like 100, and the perfect Hungarian National Philharmonic Orchestra conducted by György Vashegyi treated us to a jewel on February 3: a little-known, colorfully orchestrated French Grand opera that is definitely worth a visit.
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Parelvissers. Bizet werd geplaagd door een artistiek geweten, hij schaamde zich voor het charmante in zijn muziek in plaats van het grootse. Hij legde een tanende interesse voor het drama aan de dag.
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AGRIPPINA. Besides pathos and drama, there is certainly irony to be discovered in Agrippina, but Kosky turns it into a flat farce and treated us to incomprehensible follies.
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May your holiday season be as stress-free as assembling flat-pack furniture. Cheers to untangling Christmas lights and finding batteries for all your ‘easy-to-open’ packages. Happy Holidays!”
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Olivier Keegel. Farewell announcement: Olivier Keegel steps down as editor-in-chief of Opera Gazet.
Join us in bidding farewell to Olivier Keegel, Opera Gazet’s esteemed editor-in-chief, who will hand over the reins to Marco Aranowicz on January 1, 2024. Opera fans, the party goes on!
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Diversity. Inclusivity managers keep track of race and gender demographics and apply pressure to correct diversity deficits.
Read More →Diversity. Inclusivity managers keep track of race and gender demographics and apply pressure to correct diversity deficits.
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Zauberflöte and Zauberflötitis – A breakthrough in the fight against Zauberflötitis came with the discovery of Beer and Very Old Gin as powerful anti-Zauberflötitis remedies.
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Tonio was de ster van de avond, gezongen door John Osborn die zijn ‘Ah, mes amis’, paradepaardje van tal van lyrische tenoren met goede hoge C’s, met een verbluffend gemak de zaal in slingerde.
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Unfortunately, the horrors haven’t stopped. After killing more than 1,300 babies, children, women, men and elderlies, and injuring thousands of people on this deadly attack, Hamas terrorists are now hiding in schools, hospitals and other public buildings in Gaza, causing suffer to many innocent Palestinians.
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Am Theater Basel entschied sich Intendant und Inszenierer Benedikt von Peter gemeinsam mit der Co-Regie von Caterina Cianfarini, das Orchester wie am Festspielhaus Bayreuth unsichtbar zu machen, leider nicht mit demselben klanglichen Ergebnis.
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This music video, directed and recorded by Raphaël Wertheimer and Cécile Lenoir at the RiffX Studios, at La Seine Musicale, showcases a work by Sheida Gharachedaghi. This 82-year-old Iranian composer, a true pioneer, left her country during theIslamic revolution in Iran.
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Opera houses like De Nederlandse Nationale Opera are not only guardians of culture, however dubiously that task may be interpreted, but they cannot shirk the social duty to give reviewers free rein.
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Dirigent David Svec had af en toe een voorliefde voor hoge decibellen maar hij leidde het geheel met liefde en gezonde energie zonder in platitudes te vervallen. Hij bracht een wervelende voorstelling waar het plezier in het muziek maken van iedereen afspatte.
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De voorstelling die ik op 16 september j.l. heb bijgewoond in het prachtige neoklassieke Nationaal Theater was in alle opzichten een verademing als je dit vergelijkt met de (bijna) overal heersende ellende van de “herinterpretatie” door regisseurs.
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