San Francisco Opera

Table Of Content

• Get on Stage
• Sydney Theatre Company
• Children's Chorus Director
• Post Malone’s all-star Stagecoach set includes Brad Paisley, Dwight Yoakam
• The Hills of California star Laura Donnelly: ‘These days, being Northern Irish is seen for something in and of itself’
• days that rocked USC: How a derailed commencement brought ‘complete disaster’

Real old-fashioned opera, the more retro the better, has become the new cool. Terence Blanchard’s stirring drama returns following its landmark company premiere in 2021. Ryan Speedo Green stars as Charles, a young man faced with a fateful decision.

Get on Stage

Rachel was a member of the ensemble at the Dresdner Semperoper for three years, where she sang the title role in The Merry Widow, Fiordiligi (Così fan tutte), Vitellia (La clemenza di Tito), Elettra (Idomeneo), Diemut (Feuersnot), Rosalinde (Die Fledermaus) and Mimi (La Bohème). She won first prize at the 2014 Operalia competition in Los Angeles and at the 2011 Hans Gabor Belvedere Singing Competition, and she was a winner of the 2010 Metropolitan Opera National Council Auditions. She holds both Bachelor and Master of Music degrees from Brigham Young University and is an alumna of the Houston Grand Opera Studio. An active presence on social media, she can be found on Instagram, Facebook and TikTok @rachewillissorensen and on X under @RWSing. The performance sounds far better than it looks thanks in large part to Conlon’s commanding conducting that makes everything seem to matter despite appearances. The standout in the cast is the Violetta of Rachel Willis-Sorensen, her silvery and supple soprano making for a more brilliant than affectingly consumptive character.

Sydney Theatre Company

While in the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Zhang made her Metropolitan Opera debut as the Bloody Child in Macbeth, followed by Barbarina in The Marriage of Figaro. While attending the Merola Opera Program, she performed as Anne Trulove in The Rake’s Progress, and at the Chautauqua Institute, she was seen as Pamina in The Magic Flute. Ms. Zhang earned her master’s degree from the Mannes School of Music, where she was a recipient of the George and Elizabeth Award, and completed her bachelor’s degree at the Shanghai Conservatory of Music. A native of Jackson, Mississippi, Ms. Townsend holds a professional studies certificate in opera from the Curtis Institute of Music, a master of music from the Juilliard School, and a bachelor of arts in music from Millsaps College. Additional notable roles in her repertoire include Donna Anna in Don Giovanni, Tatyana in Eugene Onegin, the First Lady in The Magic Flute, the Countess in The Marriage of Figaro, Brenda in Rene Orth's Empty the House, Magda in La Rondine, and the Female Chorus in The Rape of Lucretia. Guanqun Yu is winner of the Belvedere singing competition and winner of the renowned Operalia competition.

Children's Chorus Director

He noted on the really big nights the house sold out days in advance. It’s to do with the INO creative team’s response to the baroque-opera blueprint, which toggles between the plot-pushing sung conversation of the recitatives and the pause for reflection of the arias. Director Daisy Evans and her team seem wholly in sync creating staging that mirrors or uncovers emotion and delicately identifies shifts in relationships. Their production feels organic and comprehensive in whatever it explores and communicates, yet neither busy nor distracting, and as near to self-explanatory as you can get with such a convoluted plot.

Hailed as the pinnacle of the Italian operatic repertoire, Verdi’s transformation of the original Shakespeare play is a powerful drama of uncontrolled human emotion at its most extreme. Verdi's musical portrait of Otello’s descent into a tortured heart of darkness is explicit in every chilling detail as he destroys all in life that he holds dear. Join Chief Conductor Simone Young and a dazzling roster of guest artists in performances that unleash the power of music that is totally alive. Vivid LIVE is the annual centrepiece of the Sydney Opera House’s year-round contemporary music program – a whole-of-House takeover and the only time of year that the world-famous venue is completely reimagined by live contemporary music and art, celebrating cutting-edge and iconic artists that defy expectations and break new ground. In its attempts at opera for all, the Los Angeles company also has found ways to take opera out of the opera house. On May 3 and 4, Conlon brings back his warm, magnificent, family-friendly and free L.A.

Don Giovanni

First review: Asmik Grigorian makes a muted Met debut - Slippedisc - Slipped Disc

First review: Asmik Grigorian makes a muted Met debut - Slippedisc.

Posted: Sat, 27 Apr 2024 20:59:46 GMT [source]

After studying in Shandong and Shanghai, she was a member of the opera studio at the Teatro Comunale di Bologna. Guanqun Yu has worked with conductors such as Zubin Mehta, James Levine, Michele Mariotti and Cornelius Meister. In 2010 she made her debut in Vienna in Honegger’s Jeanne d’Arc under the baton of Bertrand de Billy.

Indeed, the term opera house is often used as a term of prestige for any large performing arts center. Hall completed a combined arts and architecture degree at Sydney University. Upon graduation a travel scholarship enabled him to spend twelve months in Europe during which time he visited Utzon in Hellebæk.[75] Returning to Sydney, Hall worked for the Government Architect, a branch of the NSW Public Works Department.

Of the two larger spaces, the Concert Hall is in the western group of shells, the Joan Sutherland Theatre in the eastern group. The scale of the shells was chosen to reflect the internal height requirements, with low entrance spaces, rising over the seating areas up to the high stage towers. The smaller venues (the Drama Theatre, the Playhouse and the Studio) are within the podium, beneath the Concert Hall. A smaller group of shells set to the western side of the Monumental Steps houses the Bennelong Restaurant. The podium is surrounded by substantial open public spaces, and the large stone-paved forecourt area with the adjacent monumental steps is regularly used as a performance space.

days that rocked USC: How a derailed commencement brought ‘complete disaster’

National companies on tour introduced both grand and light opera performances. After its release, the movie went viral on TikTok as audience goers reacted to the film’s credit sequence, which features the cast dancing and singing to Natasha Bedingfield’s nostalgic 2004 hit “Unwritten,” a song highlighted throughout the film. There were also rumors of an off-screen romance between Powell and Sweeney that helped promote the film, as well as the actors’ flirty publicity tour and Sydney Sweeney’s SNL monologue. Danish choreographer Signe Fabricius is  well sought-after for her work within the fields of opera, musicals, theater and film.

Anthony Roth Costanzo, Grammy-winning countertenor, will be the next leader of Opera Philadelphia - WRTI

Anthony Roth Costanzo, Grammy-winning countertenor, will be the next leader of Opera Philadelphia.

Posted: Thu, 25 Apr 2024 16:00:00 GMT [source]

There is a hint of wink-wink-nod-nod kink in a party scene (this is from San Francisco, after all), comic not erotic. Opera has been popular entertainment through much of its early history. At the time Verdi wrote “La Traviata,” he was so popular that his latest tunes were as closely guarded before a premiere as a Beyoncé track. Mexico’s most iconic artists leap off the canvas in this operatic tribute to one of the most pivotal romances in history, created by Grammy-winning composer Gabriela Lena Frank and Pulitzer Prize-winning playwright Nilo Cruz.

Opera production of Benjamin Britten’s “Noah’s Flood” at Our Lady of the Angels downtown. The Metropolitan Opera mourns the death of conductor Andrew Davis, who led 106 performances with the company over 34 years. Legendary soprano Kathleen Battle returns to the Met stage on May 12 at 5PM for a special performance of classical song and favorite spirituals. Harpist Bridget Kibbey and guitarist Chico Pinheiro join Battle for this one-night-only event. Carrie Cracknell’s electrifying modern-day staging stars Clémentine Margaine, reprising her captivating portrayal of the title role, and Michael Fabiano, who makes his company role debut as Don José.

“Almost every time you shoot a movie in Sydney, you have to pretend it’s somewhere else and frame out the Opera House and the Harbour Bridge. ” We actually wrote this movie 100 percent for Sydney — very specific to the destination,” Gluck wrote. Anyone But You was filmed in parts of Australia around New South Wales and Sydney. Director Will Gluck told The Hollywood Reporter that he wanted the film set in Sydney because he had “really fallen in love with the city” and liked it so much he moved his family there. Years later, they unexpectedly reunite at a destination wedding in Australia for Bea’s sister, who is marrying Ben’s friend.

Additionally, Meachem’s Teatro alla Scala debut in Massenet’s Thaïs was acclaimed as the “most impressive performance of the evening” (Opera Online), with his portrayal of Athanaël, alongside Marina Rebeka’s Thaïs, described as “possibly one of the great duos experienced at La Scala in recent decades” (Beckmesser). Jason has lit productions at several of Canada’s largest opera companies including the Canadian Opera Company and Vancouver Opera (Carmen), Edmonton Opera (The Tales of Hoffmann). In 2014, made his American debut with Macbeth at the Minnesota Opera. He has worked with acclaimed directors Tim Albery (Imeneo, Dido and Aeneas, M’Dea Undone), Paul Curran (The Rape of Lucretia) and Tom Diamond (The Marriage of Figaro, Oksana G.). He has built a reputation for developing innovative lighting designs for site-specific productions with Against the Grain and Tapestry New Opera.

When a desperate wish on Day of the Dead reunites the pair, Diego Rivera jumps at the chance to seek forgiveness from his deceased wife, Frida Kahlo. But she refuses to return to the world that caused her so much pain, until another departed soul inspires her to look back at the art (and man) she once loved. There are important contributions, theatrical as well as vocal, from Rachael Lloyd as Lucia’s maid Alisa (in this production also her confederate), Michael Gibson as Normanno, and Andrés Presno as the hapless Arturo, who arrives to marry Lucia and is then promptly murdered by her.