Roberto Devereux. Elisabetta wordt in de DNO-productie gezongen door Barno Ismatullaeva’s, die haar rol met bewonderenswaardig zelfvertrouwen aanpakte: ze beweegt met gemak tussen registers, heeft een onberispelijke ademtechniek, een fraaie dictie en minzame, afgeronde hoge noten.
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.
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.
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.
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.
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.
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.
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!”
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!
Diversity. Inclusivity managers keep track of race and gender demographics and apply pressure to correct diversity deficits.