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He is a proud alumnus of DePaul University where he received his bachelor of music, studying with Jeff Ray. He won an Encouragement Award in the Central Region Finals of the Eric and Dominque Laffont Competition in 2021, won first prize in the 2022 University of Cincinnati – CCM Corbett Opera Scholarship Competition and is a two-time semi-finalist (2021, 2022) of the Lotte Lenya Competition. He has also won awards from Classical Singer National Voice Competition and the Grand Junction Symphony Orchestra Young Artist Competition.
Children's Chorus Director
Little Bulb’s Oliver award-winning Wolf Witch Giant Fairy will excite children and families in the Linbury Theatre with the original troupe of travelling players returning as the energetic ensemble cast, bringing this endearing folk opera to new audiences, young and old. On the main stage, music lovers of all ages can enjoy Antony McDonald's mischievous production of Humperdinck’s Hansel and Gretel, newly translated into English by Kelley Rourke. Mark Wigglesworth conducts two stellar casts including Anna Stéphany, Hanna Hipp, Anna Devin and Lauren Fagan. The Royal Opera House reopened on 20 February 1946 with a performance of The Sleeping Beauty in an extravagant new production designed by Oliver Messel.[26] Webster, with his music director Karl Rankl, immediately began to build a resident company.
Get on Stage
The tale, its characters, and its plot can elicit suitable empathy, repulsion, and consternation in us all. British Mezzo Rachael Lloyd delivers a touching, compassionate performance as Lucia’s Maid and companion, another voice I would have liked to have heard more of. Former Jette Parker member, Uruguayan tenor Andres Presno, is cast as the luckless Arturo Bucklaw whose competent tenor voice is evident in an all too brief appearance, his singing role rather eclipsed by the salacious shenanigans that precedes his demise.
Review: DARK WITH EXCESSIVE BRIGHT, Royal Opera House - BroadwayWorld
Review: DARK WITH EXCESSIVE BRIGHT, Royal Opera House.
Posted: Tue, 13 Feb 2024 08:00:00 GMT [source]
$500 Microgrants Offered To Uplift Westwood-Century City Neighborhoods
She joined the Bavarian State Opera in Munich as Cio-Cio-San, Luisa Miller, the Countess, Mimi, Rusalka and as Antonia in The Tales of Hoffmann. At the Royal Opera House Covent Garden she debuted her Alice Ford in Falstaff, and portrayed Violetta in La Traviata, Cio-Cio-San and Donna Elvira. In the Middle East, she portrayed Mimi with the Abu Dhabi Festival in the United Arab Emirates, for the city’s first ever fully staged opera production. Recent performances include Cio-Cio-San in Madama Butterfly, Donna Elvira in a new Robert Falls production of Don Giovanni, her role debut as Desdemona in Otello, as well as Tatyana in Eugene Onegin, Mimi in La Bohème, Nedda in Pagliacci, Fiordiligi in Cosi fan tutte and Marguerite in Faust.
Alongside these exciting new works will be revivals of Royal Ballet signature classics and audience favourites including Giselle, The Nutcracker, Swan Lake, works by Frederick Ashton, and Kenneth MacMillan’s Romeo and Juliet. The Royal Ballet also presents the world premiere of Christopher Wheeldon’s new full-length ballet Like Water for Chocolate, based on the Mexican novel of the same name by Laura Esquivel. This co-commission between The Royal Ballet and American Ballet Theatre reunites Wheeldon with composer Joby Talbot, costume and set designer Bob Crowley and lighting designer Natasha Katz. Esquivel worked with Wheeldon to shape the text of her magical novel into a scenario for the ballet. Internationally acclaimed conductor and official cultural ambassador to Mexico Alondra de la Parra returns to the Royal Opera House to conduct this ballet, and act as musical consultant for Talbot’s newly commissioned score.
The Royal Opera House - highlights of its first full Season 2021!
Jules Hardouin-Mansart and Carlo Vigarani presented the King with different designs for a theatre (the idea at the time was for a Ballet Hall), but none of them really pleased the sovereign. Louis XIV turned his attention instead to the construction of the Royal Chapel (1710). In January 2022 we celebrate the 75th anniversary of The Royal Opera company, which first came together as a company at its Covent Garden home on 14 January 1947 in a performance of Carmen. For The Royal Opera’s Season in the Linbury, Little Bulb Theatre returns to the Royal Opera House for the world premiere of their magical new Christmas show for family audiences. The Linbury Season also sees the world premiere of a new opera, The Blue Woman, by composer Laura Bowler and librettist Laura Lomas.
Royal Opera House 2023-24 Review: Der fliegende Holländer - OperaWire OperaWire - OperaWire
Royal Opera House 2023-24 Review: Der fliegende Holländer - OperaWire OperaWire.
Posted: Wed, 06 Mar 2024 08:00:00 GMT [source]
The Opera History of Broadway's Greatest Diva
Additionally, he frequently collaborates with universities, museums, and other cultural institutions, and works with scholars, practitioners, and community members across disciplines. His appearances throughout the country as a speaker on a variety of cultural and educational topics are widely praised. Additional highlights of his season include returning to the Chicago Symphony Orchestra to lead Mendelssohn’s Elijah, and conducting Wagner’s Lohengrin at Deutsche Oper Berlin.
With a “heroically shining tone of exceptional clarity and precision” (Opera magazine) and “gorgeously burnished power” (The New York Times), American tenor Russell Thomas uses his signature elegance and intensity to create vivid character portrayals on the world’s most important stages. "There was a full cast of powerhouse singers. [Russell] Thomas as a compelling Otello… his burnished tenor brings a heartbreaking beauty even to big, overwrought emotions." Mike Hardy is a Royal Television Society award-nominated investigative journalist who has worked in the British television and print media industries for over 25 years. In conclusion, as I commenced, this is a most commendable and beautifully sung opera, but its staging and direction are frequently and gratuitously barbarous and brutish.
National Edition
Future seasons include appearances in Berlin, London, Toronto, Chicago, Houston, New York, and Washington, D.C. Inaugurated on 16 May 1770 for the feast for the wedding of the Dauphin and the Archduchess Marie-Antoinette, this extraordinary theatre was used only 40 or so times before the Revolution (the cost, although high, was not the only reason for its limited use). It was used for royal weddings and to honour foreign sovereigns, for whom balls or shows were organised. The theatre was last used for a celebration of the French Court on 18 July 1784, when a ball was given in honour of the King of Sweden Gustave III. The Banquet of the Guards, five years later on 1st October 1789, was the last event held here during the Ancien Régime.
Mr. Conlon’s extensive discography and videography can be found on the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and Kurt Weill’s Rise and Fall of the City of Mahagonny. Additional highlights include an ECHO Klassik Award-winning recording cycle of operas and orchestral works by Alexander Zemlinsky; a CD/DVD release of works by Viktor Ullmann, which won the Preis der deutschen Schallplattenkritik; and the world-premiere recording of Liszt’s oratorio St. Stanislaus.
In 2017, she opened her own production company, 19TEATRO, together with other theater professionals. In the past, many performances of “Lucia di Lammermoor” were staged purely to illustrate the vocal prodigiousness of the soprano in what is, unequivocally, one of opera’s most challenging roles. Whenever the role is mentioned, the cognoscenti will undoubtedly hark back to those efforts of the late great, Dame Joan Sutherland. Even contemporary reviews of the opera will recall and, sometimes, even compare the Lucia of the day with that of the Dame. If any of that prayed on the mind of THIS performance of Lucia, Nadine Sierra, then not only did it not show, but she was, seemingly, intent on setting a few benchmarks of her own. Perhaps ALL the artists here mutually agreed to start proceedings gently as she, too, announced her entry with a touch of diffidence.
Cuban-American playwright Nilo Cruz gained national prominence in 2003 when he won the Pulitzer Prize for drama for his play Anna in the Tropics, for which he also received a Tony Award nomination. The immigrant experience is a common theme in many of Cruz's plays and he has become known for his ability to successfully weave strains of magic realism and other literary traditions into his works. She is also passionate about oratorio and concert work, and has been the mezzo-soprano soloist in the Mozart Requiem, Handel’s Messiah, Bach’s St. Matthew Passion, and selections from the Verdi Requiem. In the summer of 2024, she will perform the role of Nireno in Julius Caesar with Opera Theatre of Saint Louis as a Gerdine Young Artist. A veteran in the competition circuit, Ms. Levis has won prizes from the Gerda Lissner Competitions (Song and Opera), Sullivan Foundation, Vero Beach Opera Competition, McCammon Competition, James Toland Vocal Arts Competition, Lyndon Woodside Oratorio Competition and the Joy in Singing Competition, among others. She was also named a finalist in the Wilhelm Stenhammar Competition, Mildred Miller International Vocal Competition and Cesti Baroque Competition, and a semi-finalist in the George London Competition, Opera Index Competition, Loren L. Zachary Competition and Operalia.
Katherine Syer is a dramaturg for spoken and lyric theater, with research specializations in historical and contemporary opera/theater production. Her work in these areas was at the core of her activities for nearly two decades at the University of Illinois Urbana-Champaign, in the theater studies and musicology departments. Since moving to Los Angeles, she has worked with many graduate students in the Herb Alpert School of Music at UCLA. Her scholarly publications include several studies of Wagner's creative process and dramatic art. An international opera critic for over 30 years, Syer is an avid performing arts advocate and public speaker.
In 2021, he was heard on the stage of the Houston Grand Opera as the winner of the 33rd Annual Concert of Arias, as the grand prize winner of the Premiere Opera Foundation + NYIOP International Vocal Competition, and finalist and encouragement award winner of Operalia. His opera productions have been seen throughout Europe, North America and Australia, and he has also worked extensively in theater, television, film and major festivals. Recent productions include The Marriage of Figaro for Garsington Opera, Thaïs for the Metropolitan Opera and Cosi fan tutte for the Lyric Opera of Chicago. Since his debut that year with La Traviata, he has conducted 67 different operas and more than 455 performances to date with the company. Mr. Thomas’s “ardent expression and spine-tingling high notes” (Cincinnati Enquirer) have been heard in the Verdi Requiem with the New York Philharmonic, Baltimore Symphony Orchestra, and the symphony orchestras of Washington, D.C.
Other operatic highlights include Belcore in L’elisir d’amore, Baron Mirko Zeta in The Merry Widow, Giove in La Calisto, Kecal in The Bartered Bride, Simone in Gianni Schicchi, and Seneca in The Coronation of Poppea. He has also been seen performing selections of Bernstein and Mahler with the CCM Philharmonic, and was the bass soloist in Vaughan Williams’ Serenade to Music with the DePaul University Symphony Orchestra. In the summer of 2023, he performed Le Dancaïre in Carmen with Des Moines Metro Opera, followed by his Hollywood Bowl debut in Chris Thile's Attention! In the summer of 2022, he joined the Frank R. Brownell III Apprentice Program at Des Moines Metro Opera, where he sung the role of Theseus in A Midsummer Night’s Dream and covered the role of the Lawyer in Porgy and Bess.
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