BREAKING NEWS: Opera & Ballet http://feed.informer.com/digests/LGBZAJQZUY/feeder BREAKING NEWS: Opera & Ballet Respective post owners and feed distributors Tue, 06 May 2014 13:36:52 +0000 Feed Informer http://feed.informer.com/ Covent Garden’s Otello: Superb singing defies Warner’s uneven production http://www.operatoday.com/content/2019/12/covent_gardens_.php Opera Today urn:uuid:8373e13c-d68b-7193-db94-1fda35f23982 Thu, 12 Dec 2019 17:28:55 +0000 I have seen productions of Verdi’s Otello which have been revolutionary, even subversive. I have now seen one which is the complete antithesis of that. Perseverance https://parterre.com/2019/12/11/my-middle-name-is-perseverance/ parterre box urn:uuid:3da8ee4b-c66b-e978-c7fc-5e85b027a982 Wed, 11 Dec 2019 15:28:07 +0000 <p><a href="https://parterre.com/2019/12/11/my-middle-name-is-perseverance/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/moreno-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/moreno-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/moreno-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/moreno-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/moreno-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/moreno-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Happy 88th birthday actress and singer <strong>Rita Moreno</strong>.</p> <p><a href="//www.youtube.com/watch?v=TUI2cYJQRhU&#038;fmt=18">//www.youtube.com/watch?v=TUI2cYJQRhU</a></p> <p>&#8220;My middle name really is perseverance. I&#8217;ve always believed that I had talent, even when I felt like a very inferior sort of person, which I spent a lot of time living my life feeling that I wasn&#8217;t worthy. But even then I knew that I had something special, and maybe that&#8217;s what it takes.&#8221;</p> <p>Born on this day in 1803 composer <strong>Hector Berlioz</strong>.</p> <p><a href="//www.youtube.com/watch?v=fel3w_sYdps&#038;fmt=18">//www.youtube.com/watch?v=fel3w_sYdps</a></p> <p>On this day in 1960 the <strong>Cy Coleman</strong> musical <em>Wildcat</em> opened at the Alvin Theatre, to run 171 performances.</p> <p><a href="//www.youtube.com/watch?v=EaYjVHEB5bs&#038;fmt=18">//www.youtube.com/watch?v=EaYjVHEB5bs</a></p> Fairytales and Lullabyes https://operaramblings.blog/2019/12/11/fairytales-and-lullabyes/ operaramblings urn:uuid:8e51e87d-dc55-ed1b-1fe1-1e15298499c3 Wed, 11 Dec 2019 14:32:51 +0000 Yesterday&#8217;s lunchtime concert in the RBA was the last for the year in the vocal series and featured members of the Ensemble Studio.  Rachael Kerr was scheduled to do about half the accompanying but illness prevented her from playing so &#8230; <a href="https://operaramblings.blog/2019/12/11/fairytales-and-lullabyes/">Continue reading <span class="meta-nav">&#8594;</span></a> <p>Yesterday&#8217;s lunchtime concert in the RBA was the last for the year in the vocal series and featured members of the Ensemble Studio.  Rachael Kerr was scheduled to do about half the accompanying but illness prevented her from playing so some hasty reprogramming meant that what we got differed somewhat from the printed programme but it was still a very well put together effort.</p> <p><img data-attachment-id="27230" data-permalink="https://operaramblings.blog/2019/12/11/fairytales-and-lullabyes/191210-fairytalesandlullabies_15/" data-orig-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_15.jpg" data-orig-size="580,873" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Dan Truong&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1575979837&quot;,&quot;copyright&quot;:&quot;2019 Dan Truong&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="191210-FairytalesAndLullabies_15" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_15.jpg?w=199" data-large-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_15.jpg?w=580" class=" size-full wp-image-27230 aligncenter" src="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_15.jpg?w=584" alt="191210-FairytalesAndLullabies_15" srcset="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_15.jpg 580w, https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_15.jpg?w=100 100w, https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_15.jpg?w=199 199w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p><span id="more-27226"></span>The show started with Joel Allison and Alex Soloway doing Schubert&#8217;s <em>Nacht und Träume</em>.  This starts on a long crescendo note rather high for a bass-baritone.  It&#8217;s rather like starting a cycling demonstration by crossing Niagara Falls on a unicycle.  Anyway, Joel didn&#8217;t plunge to his death in the foaming waters and it all went rather well.  It was followed by a very dramatic <em>Liedesend</em> from Simona Genga with equally dramatic playing from Alex.</p> <p>Jamie Groote teamed up with Alex for Jake Heggie&#8217;s <em>Daybreak</em> from his chamber opera <em>Three Decembers</em> which is a sort of riff on dysfunctional families at Christmas.  Typical Heggie; tuneful but not overly schmaltzy and very well sung.</p> <p><img data-attachment-id="27231" data-permalink="https://operaramblings.blog/2019/12/11/fairytales-and-lullabyes/191210-fairytalesandlullabies_24/" data-orig-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_24.jpg" data-orig-size="580,385" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Dan Truong&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1575980418&quot;,&quot;copyright&quot;:&quot;2019 Dan Truong&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="191210-FairytalesAndLullabies_24" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_24.jpg?w=300" data-large-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_24.jpg?w=580" class=" size-full wp-image-27231 aligncenter" src="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_24.jpg?w=584" alt="191210-FairytalesAndLullabies_24" srcset="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_24.jpg 580w, https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_24.jpg?w=150 150w, https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_24.jpg?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>Matthew Cairns made his first appearance with the Witch&#8217;s aria from <em>Hansel and Gretel</em> in the version that is going to be used by the COC in their abridged children&#8217;s version (February 13th and 15th).  It was dramatic, loud and in just the right funny/scary spot.  There were several small children in the house but none of them got eaten.  Matthew was back later with Liz Upchurch for a very fine version of Strauss&#8217; <em>Zueignung</em>.  I&#8217;m really not sure why tenors don&#8217;t do the Strauss songs for high voice more often.</p> <p><img data-attachment-id="27232" data-permalink="https://operaramblings.blog/2019/12/11/fairytales-and-lullabyes/191210-fairytalesandlullabies_43/" data-orig-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_43.jpg" data-orig-size="580,873" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Dan Truong&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1575980695&quot;,&quot;copyright&quot;:&quot;2019 Dan Truong&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="191210-FairytalesAndLullabies_43" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_43.jpg?w=199" data-large-file="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_43.jpg?w=580" class=" size-full wp-image-27232 aligncenter" src="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_43.jpg?w=584" alt="191210-FairytalesAndLullabies_43" srcset="https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_43.jpg 580w, https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_43.jpg?w=100 100w, https://operaramblings.files.wordpress.com/2019/12/191210-fairytalesandlullabies_43.jpg?w=199 199w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>Vartan Gabrielian and Alex chipped in with five short songs by Rachmaninoff.  He sounds very good in Russian.  His dark timbre suits Rachmaninoff.  There was more Strauss from Lauren Margison and Liz.  This time it was <em>Beim Schlafengehen</em> from the Four Last Songs and was quite dramatic and rather beautiful.</p> <p>The close out was an awfully cute Evening Prayer from Hansel and Gretel from Jamie and Lauren with Liz at the piano.  Awww.  Until next year then&#8230;</p> <p><img data-attachment-id="27233" data-permalink="https://operaramblings.blog/2019/12/11/fairytales-and-lullabyes/hqdefault-3/" data-orig-file="https://operaramblings.files.wordpress.com/2019/12/hqdefault.jpg" data-orig-size="580,323" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="hqdefault" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2019/12/hqdefault.jpg?w=300" data-large-file="https://operaramblings.files.wordpress.com/2019/12/hqdefault.jpg?w=580" class=" size-full wp-image-27233 aligncenter" src="https://operaramblings.files.wordpress.com/2019/12/hqdefault.jpg?w=584" alt="hqdefault" srcset="https://operaramblings.files.wordpress.com/2019/12/hqdefault.jpg 580w, https://operaramblings.files.wordpress.com/2019/12/hqdefault.jpg?w=150 150w, https://operaramblings.files.wordpress.com/2019/12/hqdefault.jpg?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>Photo credits: Dan Truong (except the kittens)</p> Strictly Come Dancing 2019 Christmas Special | Interviews http://www.balletnews.co.uk/strictly-come-dancing-2019-christmas-special-interviews/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:8b934c5a-7430-925f-60ea-b0af69138f26 Wed, 11 Dec 2019 13:29:24 +0000 Craig Revel Horwood, Motsi Mabuse, Shirley Ballas, Bruno Tonioli &#8211; (C) BBC &#8211; Photographer: Guy Levy Debbie McGee Dancing the quickstep with Kevin Clifton to Jingle Bells What made you...<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/LD6R4kDY0bY" height="1" width="1" alt=""/> Electric Messiah again https://operaramblings.blog/2019/12/11/electric-messiah-again/ operaramblings urn:uuid:b4828acc-458c-2d1b-1860-2722f6b1c50d Wed, 11 Dec 2019 13:26:13 +0000 It&#8217;s the fifth year that Soundstreams has put on Electric Messiah which I guess means it&#8217;s pretty much becoming a holiday tradition.  This iteration may just be the best yet.  This version seemed quite stripped down compared to some years &#8230; <a href="https://operaramblings.blog/2019/12/11/electric-messiah-again/">Continue reading <span class="meta-nav">&#8594;</span></a> <p>It&#8217;s the fifth year that Soundstreams has put on <em>Electric Messiah</em> which I guess means it&#8217;s pretty much becoming a holiday tradition.  This iteration may just be the best yet.  This version seemed quite stripped down compared to some years and all the better for it.  It&#8217;s centred around rearranged (and shortened) excerpts from the Handel work supplemented with some personal touches for the cast.  This time the &#8220;band&#8221; was Wesley Shen on harpsichord, Joel Visentin on keyboards and electric organ, Joel Schwartz on assorted acoustic and electric guitars and Adam Scime directing from the (laptop) keyboard which controlled lots of effective electronics.  SlowPitchSound was there on turntables with Lybido dancing.</p> <p><img data-attachment-id="27222" data-permalink="https://operaramblings.blog/2019/12/11/electric-messiah-again/elecmessiah2019-photobydahliakatz-8729/" data-orig-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-8729.jpg" data-orig-size="580,386" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;Dahlia Katz, www.dahliakatz.com&quot;,&quot;camera&quot;:&quot;NIKON Z 6&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1575941135&quot;,&quot;copyright&quot;:&quot;(C) Dahlia Katz, all rights reserved ((C) Dahlia Katz, all rights reserved (Photographer) - [None] ((C) Dahlia Katz, all rights reserved ((C) Dahlia Katz, all rights reserved (Photographer) - [None] (Photographer) - [None] (Editor), ASCII, 99 componen&quot;,&quot;focal_length&quot;:&quot;32&quot;,&quot;iso&quot;:&quot;8000&quot;,&quot;shutter_speed&quot;:&quot;0.00625&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="ElecMessiah2019-photobyDahliaKatz-8729" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-8729.jpg?w=300" data-large-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-8729.jpg?w=580" class=" size-full wp-image-27222 aligncenter" src="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-8729.jpg?w=584" alt="ElecMessiah2019-photobyDahliaKatz-8729" srcset="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-8729.jpg 580w, https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-8729.jpg?w=150 150w, https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-8729.jpg?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p><span id="more-27215"></span>The set up this year was simple.  The band was on stage with the turntables at the opposite end of the space.  The audience was in three rows either side of the performance space in front of the stage.  Everybody was in white.  Again, simple.</p> <p><img data-attachment-id="27223" data-permalink="https://operaramblings.blog/2019/12/11/electric-messiah-again/elecmessiah2019-photobydahliakatz-9035/" data-orig-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9035.jpg" data-orig-size="580,386" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;Dahlia Katz, www.dahliakatz.com&quot;,&quot;camera&quot;:&quot;NIKON Z 6&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1575942559&quot;,&quot;copyright&quot;:&quot;(C) Dahlia Katz, all rights reserved ((C) Dahlia Katz, all rights reserved (Photographer) - [None] ((C) Dahlia Katz, all rights reserved ((C) Dahlia Katz, all rights reserved (Photographer) - [None] (Photographer) - [None] (Editor), ASCII, 99 componen&quot;,&quot;focal_length&quot;:&quot;70&quot;,&quot;iso&quot;:&quot;16000&quot;,&quot;shutter_speed&quot;:&quot;0.008&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="ElecMessiah2019-photobyDahliaKatz-9035" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9035.jpg?w=300" data-large-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9035.jpg?w=580" class=" size-full wp-image-27223 aligncenter" src="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9035.jpg?w=584" alt="ElecMessiah2019-photobyDahliaKatz-9035" srcset="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9035.jpg 580w, https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9035.jpg?w=150 150w, https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9035.jpg?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>The piece opened as before with a four part arrangement of <em>Comfort Ye</em> introducing each singer in turn; Lindsay McIntyre (soprano), Chloe Charles (alto), Jonathan MacArthur (tenor) and Andrew Adridge (bass).  Various aria and chorus excerpts followed with interludes by SlowPitchSound including a riff early on on <em>Hallelujah</em>.  The &#8220;unconventional&#8221; bits were well spaced throughout the performance which left it with more of a &#8220;Handel feel&#8221; than last year.  There were no exotic languages.  The mash up by Chloe Charles of <em>He Was Despised</em> and her own <em>God is a Toad</em>, accompanying herself, worked really well.</p> <p><img data-attachment-id="27224" data-permalink="https://operaramblings.blog/2019/12/11/electric-messiah-again/elecmessiah2019-photobydahliakatz-9057/" data-orig-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9057.jpg" data-orig-size="580,387" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;Dahlia Katz, www.dahliakatz.com&quot;,&quot;camera&quot;:&quot;NIKON Z 6&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1575942673&quot;,&quot;copyright&quot;:&quot;(C) Dahlia Katz, all rights reserved ((C) Dahlia Katz, all rights reserved (Photographer) - [None] ((C) Dahlia Katz, all rights reserved ((C) Dahlia Katz, all rights reserved (Photographer) - [None] (Photographer) - [None] (Editor), ASCII, 99 componen&quot;,&quot;focal_length&quot;:&quot;34&quot;,&quot;iso&quot;:&quot;5000&quot;,&quot;shutter_speed&quot;:&quot;0.008&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="ElecMessiah2019-photobyDahliaKatz-9057" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9057.jpg?w=300" data-large-file="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9057.jpg?w=580" class=" size-full wp-image-27224 aligncenter" src="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9057.jpg?w=584" alt="ElecMessiah2019-photobyDahliaKatz-9057" srcset="https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9057.jpg 580w, https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9057.jpg?w=150 150w, https://operaramblings.files.wordpress.com/2019/12/elecmessiah2019-photobydahliakatz-9057.jpg?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>The final &#8220;set&#8221; worked especially well and made a fine conclusion.  An arrangement of <em>Since By Man Came Death</em> was followed by Wesley Chen leaving the stage to accompany <em>I Know That My Redeemer Liveth</em> on <a href="https://en.wikipedia.org/wiki/Sh%C5%8D_(instrument)">shō</a> (a Japanese instrument that looks like a sort of nostril periscope) before the close out on <em>Hallelujah.</em></p> <p>The standard of performance from every body involved was high.  The quartet of voices had some contrast with Chloe  and Andrew distinctly darker in timbre than Lindsay and Jonathan.  The pacing was very tight and the interpolations didn&#8217;t feel gimmicky or ill placed.  It all just worked and the show flew by.  It&#8217;s only about 75 minutes long but it left me wanting more.  <em>Messiah</em> rarely does that.</p> <p>There are two more shows tonight and tomorrow at 8pm at Drake Underground.</p> <p>Photos by Dahlia Katz.</p> <p>&nbsp;</p> <p>&nbsp;</p> Solomon’s Knot: Charpentier - A Christmas Oratorio http://www.operatoday.com/content/2019/12/solomons_knot_c.php Opera Today urn:uuid:2fe32fab-5121-a182-cd36-e51b84bc87fc Wed, 11 Dec 2019 09:04:31 +0000 When Marc-Antoine Charpentier returned from Rome to Paris in 1669 or 1670, he found a musical culture in his native city that was beginning to reject the Italian style, which he had spent several years studying with the Jesuit composer Giacomo Carissimi, in favour of a new national style of music. Mariusz Kwiecien cancellations continue http://barihunks.blogspot.com/2019/12/mariusz-kwiecien-cancellations-continue.html Barihunks urn:uuid:e55b156b-d134-16a6-3dd2-72ff4835cb5d Tue, 10 Dec 2019 17:05:00 +0000 <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-fLb-YhgG7mw/Xe_Pz5omboI/AAAAAAAApIQ/p-yQxQRi7f0J2_Ylt_yJumYizoOoAzZmwCLcBGAsYHQ/s1600/MK.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="772" data-original-width="1248" height="246" src="https://1.bp.blogspot.com/-fLb-YhgG7mw/Xe_Pz5omboI/AAAAAAAApIQ/p-yQxQRi7f0J2_Ylt_yJumYizoOoAzZmwCLcBGAsYHQ/s400/MK.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mariusz Kwiecien in Pearl Fishers and Don Giovanni</td></tr></tbody></table>Barihunk Mariusz Kwiecien continues to cancel performances, including a third cancellation with the Dallas Opera. The company announced that he has withdrawn as Rodrigo in their upcoming production of Verdi’s <i>Don Carlo</i>. He will be replaced by fellow barihunk Lucas Meachem. Kwiecien withdrew from the title role in their production of Mozart's <i>Don Giovanni </i>in April 2018 and Bizet's Pearl Fishers in January. Kwiecien is scheduled to sing Rodrigo at Covent Garden this summer.<br /><br />Meachem will join an all-star cast in Dallas that includes Jamie Barton, Leah Crocetto, Robert Watson, Morris Robinson, Andrea Silvestrelli and David Leigh. Performances run from March 20-28 and tickets are available online. Tickets are available <a href="https://dallasopera.org/performance/don-carlo/">online</a>.&nbsp; <br /><br />Kwiecien's notable recent cancellations also include withdrawing from the The Met's <i>Pearl Fishers </i>and as the Count in<i> </i><i>Le Nozze di Figaro</i>, Dr. Malatesta in Donizetti's <i>Don Pasquale</i> at the Royal Opera House at Covent Garden and the Count in Mozart's <i>Le Nozze di Figaro</i> at the Bavarian State Opera.<br /><br />Repeated attempts to get a get a comment from his US and European agents have gone unanswered. We wish him a speedy and healthy recovery to the opera stage.<br /><br /><br /><div class="blogger-post-footer"><p><a href="http://fusion.google.com/add?feedurl=http://feeds.feedburner.com/MichaelColbrunosMountainViewCemeteryBioTour"><img src="http://buttons.googlesyndication.com/fusion/add.gif" width="104" height="17" style="border:0" alt="Add to Google Reader or Homepage"/></a></p></div> John Ringling’s Circus Nutcracker Brings Holiday Wonder to Sarasota http://www.balletnews.co.uk/john-ringlings-circus-nutcracker-brings-holiday-wonder-to-sarasota/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:413ae092-2d31-bab6-4ade-f7dff573d120 Tue, 10 Dec 2019 16:23:28 +0000 The Sarasota Ballet celebrates the beauty of the holidays this year in a uniquely Sarasota fashion, with the return of&#160;John Ringling’s Circus Nutcracker&#160;this December 20-21 at the Van Wezel...<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/3utxzJ41Z1I" height="1" width="1" alt=""/> US Prix de Ballet is Reimagining the Ballet Competition https://www.pointemagazine.com/us-prix-de-ballet-competition-2641524236.html Pointe Magazine urn:uuid:576f615d-5ec2-cda4-eb1c-3797f0eb497b Tue, 10 Dec 2019 14:17:07 +0000 <img src="https://assets.rbl.ms/22133663/origin.jpg"/><br/><br/><p>The <a href="https://www.usprixdeballet.com/" target="_blank">US Prix de Ballet</a> is taking an unconventional approach to the ballet competition—by putting the competitors' health first. After a successful first year in 2018, <a href="https://www.usprixdeballet.com/competition" target="_blank">the Prix is returning to San Diego, CA</a> this February with an even more comprehensive lineup of wellness workshops and master classes, in addition, of course, to the high-level competition. </p><p>Though the talent is top-notch, the environment is friendly, says HARID Conservatory faculty member Victoria Schneider, who serves on US Prix de Ballet's <a href="https://www.usprixdeballet.com/staff" target="_blank">elite panel of judges</a>. "The wellbeing of the dancer is the main focus," says Schneider, who awarded three scholarships to HARID at last year's competition.</p><p><a href="https://www.usprixdeballet.com/" target="_blank">US Prix de Ballet</a> was born after its founders traveled to the Japan Grand Prix International Ballet Competition in 2016. "The company ran every aspect of the competition with professionalism, dignity, honor and precision," says founder Neisha Hernandez. "We knew we wanted this level of experience for America."</p><hr/><h3>None</h3><br/><img alt="A young woman in a master class. She wears a black leotard with the number 191 pinned to her front. She is at the barre, with her outside arm extended in front of her and her head slightly angled out. We only see the top half of her body." class="rm-shortcode" data-rm-shortcode-id="I3MP661575993918" data-rm-shortcode-name="rebelmouse-image" id="88d97" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEzMzczOC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU4Mjc2OTE4MH0.1Rlz2zyKZD7bgKEgzg1JKyByh-QGkp2xhLyp3V7xA-A/img.jpg?width=980"/><h3></h3><br/><p>While other ballet competitions have master class offerings, Schneider points out that they usually run concurrently to the competition itself. "Because at US Prix de Ballet the classes are held on a separate day, I get to watch and teach the competitors," she says. It's a rare opportunity in the competition world for judges to see the dancer more completely, and to recognize talent and potential even when it isn't flashing on stage, she says. Other judges/master teachers include Tulsa Ballet assistant artistic director Daniela Buson, Boston Ballet School faculty member Rie Ichikawa and director of Radford University's ballet program Inessa Plekhanova. </p><h3>None</h3><br/><img alt="A young woman who seems to be performing the Kitri variation. She is in a slightly angled echappe on pointe, and wears a red and black tutu with a red hairpiece. She holds a tamborine which she extends out to the camera with one hand, the other arm behind her and up." class="rm-shortcode" data-rm-shortcode-id="FAD1PK1575993918" data-rm-shortcode-name="rebelmouse-image" id="d5db1" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEzMzc0MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU4MDEzOTczM30.a6EEmftOzvu5jwFndLWOrpYWcbCJRI3yWxjvV6at1AU/img.jpg?width=980"/><h3></h3><br/><p>But <a href="https://www.usprixdeballet.com/" target="_blank">US Prix de Ballet</a> is also going beyond the typical master class experience, with a series of wellness workshops intended to support and train dancers' bodies and minds. Psychologist and former gymnast Sara Hickman will give a workshop designed to help dancers be their best when it matters most by managing the competitive environment of dance and reducing negative self-talk, among other strategies. "We want the emotions that they have dancing to be joy, love, and gratitude, and to normalize the idea that training their minds is part of their success," she says. "You have to address the whole person, and the US Prix de Ballet has a wholistic model that supports the dancers in competition."</p><h3>None</h3><br/><img alt="A master class of young girls. They each wear a number pinned to their leotard. They are in a large studio, standing in fifth position." class="rm-shortcode" data-rm-shortcode-id="644SC71575993918" data-rm-shortcode-name="rebelmouse-image" id="6969f" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEzMzc0NC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU3Njk1NTA3N30.Gwp9qrDhnJC2epTJpL-dBaXK4jAWV9V5mLp9mhW7wXI/img.jpg?width=980"/><h3>None</h3><br/><p>Lisa Howell, physiotherapist and author of The Ballet Blog, will also be on deck to help dancers understand their anatomy, and how best to master it for optimal performance. "We will be looking at articulation of the feet, improving pointe range, optimizing turnout range and control, as well as the wonders of fascial mobilizers for safely increasing flexibility," she says. Each of her workshops will teach participants a strategic warm-up sequence to do before class or performance to maximize their physical potential.</p><p>Howell emphasizes that the <a href="https://www.usprixdeballet.com/" target="_blank">US Prix de Ballet </a>is a true learning experience that will benefit dancers regardless of how their competition performance goes. "Many other competitions have no focus on dancers' wellness," she says. "It really highlights the values of the US Prix de Ballet organizers, and their commitment to helping young dancers grow as humans as well as dancers." </p><p><a href="https://www.usprixdeballet.com/dancer-login" target="_blank">Dancers may enroll through Jan 21. </a></p> Calling the shots https://parterre.com/2019/12/10/calling-the-shots/ parterre box urn:uuid:1b0c1ddc-1c36-ae2f-5c9f-d894f229dbc4 Tue, 10 Dec 2019 13:25:07 +0000 <p><a href="https://parterre.com/2019/12/10/calling-the-shots/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/freischutz-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/freischutz-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/freischutz-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/freischutz-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/freischutz-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/freischutz-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Heartbeat Opera has set <em>Der Freischütz</em> in a contemporary era, in a rural locale where gun culture reigns supreme and bullying is natural.</p> <p><img class="aligncenter size-large wp-image-66049" src="https://parterre.com/wp-content/uploads/2019/12/freischutz-1-720x405.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2019/12/freischutz-1.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/freischutz-1-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/freischutz-1-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" /><em>Der Freischütz</em>, with its pre-Wagnerian tunefulness and fascinating orchestration, keeps arousing interest. Weber’s <em>singspiel</em> has had at least three stagings in New York in the last few years: by Utopia Opera, the Bronx Opera and now Heartbeat Opera.</p> <p>I missed the first two, but friends of mine were delighted with the inventive presentations. Heartbeat Opera is fielding two casts through next Sunday at Baruch Performing Arts Center east of Madison Square, and I heard them on Friday and Saturday nights.</p> <p><em>Der Freischütz </em>has been called the first German folk-culture opera. Naïve peasants with quaint pieties had turned up in comic operas before 1821, but their love stories and soul-risking adventures were not the fare of serious German opera. In the wake of <em>Freischütz</em>’s triumphant success came the folkloric operas of Marschner, Hoffmann, Spohr, Lortzing, von Flotow, Schumann and, ultimately, Wagner.</p> <p><em>Freischütz </em>is also an early example of stage-gothic, the macabre effects of the dawning romantic era, set to evocative music in the air of the deep, Germanic forests. (This was the era of the Brothers Grimm, remember, the original source of the libretto—though with a far harsher ending.) Audiences reveled in the tales of superstitious peasants set, comfortingly, long ago, in the era of the Thirty Years’ War, but they also liked the frisson of theatrical terror. It filled a shadowy place left vacant by the fading of traditional religion. Soon, someone foretold, there would be movies. With soundtracks.</p> <p>At Heartbeat, the opera is <em>sung</em> in the original German with an English version of the dialogue. The rich, atmospheric orchestration has been cleverly reduced to seven persons on traditional instruments who double on eccentric or electronic ones (singing saws, woodblocks, marimba, rattles, electric bass, accordion), which enhance or imply the supernatural and satanic themes. Much of the singing is awfully good and the staging is often inventive and performed with skill and focus.</p> <p>Offense might be provided to the senses of some attendees in the smoke and dry ice that accompany the Wolf’s Glen—in this version Wolf’s Canyon. In the tall Baruch Theater with the seats arranged around a catwalk as if representing forest pathways, you never know where the action is going to take place next—keep your eyes peeled! But some of us do <em>like it</em> when the tenor and soprano are howling their last duettino right in my ear.</p> <p><img class="aligncenter size-large wp-image-66050" src="https://parterre.com/wp-content/uploads/2019/12/freischutz-720x405.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2019/12/freischutz.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/freischutz-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/freischutz-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Heartbeat has set the piece in a contemporary era, in a rural locale where gun culture reigns supreme and bullying is natural. The dialogue (why didn’t Lachner or somebody make recits out of it?) is embarrassing in every version of this opera, and hillbilly accents do not help.</p> <p>Neither does Kaspar, when possessed by the demon Samiel (a dancing female in this version, though her few lines are sung by a taped basso), really need to slip meth into Max’s shot of whiskey. It may or may not be useful to learn that Kaspar’s a vet who has learned black magic in the army. Is Samiel an Iraqi djinn? Can we blame the Magic Bullets on PTSD? But these changes are simple and acceptable—they have no effect on the music or the plot line.</p> <p>But the show goes on to change the Hermit, Weber’s benign <em>deus ex machina</em>, into a guerrillero armed with an automatic rifle who threatens to gun down the entire chorus. (They shriek a lot.) He is renamed “Max’s Shadow,” and whether he is real or summoned from the subconscious is unclear from the director&#8217;s note. Two performances were not enough to explain to me what he was supposed to be doing in <em>Der Freischütz</em>.</p> <p>Several of those attending asked me, going out, if I knew what on earth the ending signified, and all I could do was explain how the opera is <em>supposed </em>to end (piety triumphs; the devil takes his spoil and departs) and join them to deplore Heartbeat’s funky alterations. Think it through, guys. If you want this to be an anti-gun opera, you’ll have to write a few more scenes and maybe get Weber to set your diatribe to music.</p> <p>Weber’s Max is a heldentenor in bud, and Heartbeat somehow fielded two of them, both capable of unstrained high notes and burly anguish over the (admittedly reduced) orchestration. <strong>Ian Koziara </strong>on Friday had the slightly more plush lyric instrument, but it was no hardship to have <strong>Casey Candebat </strong>replace him on Saturday.</p> <p>The pure Agathe, Max’s true love and the prize of the shooting contest, is a role for an aspirant dramatic soprano—she was sung by the young Nilsson (her debut) and the young Sutherland. She must spin out long passages of accompanied arioso to enlist our sympathies for the arrival of the anticipated Max. Her arias, slow and portentous melodies, often defeat a singer’s attempts to bring her hopes to life. But in a small theater, with every expression visible, she has more opportunity to maintain rapport.</p> <p><strong><img class="aligncenter size-large wp-image-66051" src="https://parterre.com/wp-content/uploads/2019/12/freischutz-3-720x405.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2019/12/freischutz-3.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/freischutz-3-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/freischutz-3-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Summer Hassan</strong> has a sizable soprano of considerable quality and a fine, Germanic vibrato. She sang ardently in the Friday cast, but has problems sustaining pitch when intensity is called for. I was more impressed with <strong>Katherine Whyte</strong>, whose thinner voice held truer to the melodic line.</p> <p>Agathe and Max’s fraught affair in the eaves of the threatening forest would probably bore any audience if left to itself, and it is a mark of Weber’s genius that he understood that. He set Agathe’s gloom off with a merry sidekick, Aennchen, said to have been modeled on the character of Weber’s own bride. <strong>Jana McIntyre </strong>on Friday and <strong>Nicole Haslett </strong>on Saturday both took the part with pretty, Rothenberger-ish voices that did not lack weight and held their own in trio with the lovers. Their acting, too, was up to Aennchen’s joking “ghost story” aria.</p> <p>The villainous Kaspar (or are we meant to sympathize with a “damaged” soldier?) was taken on Friday by <strong>Derrell Acon</strong>, a perfectly acceptable light bass and a sinister presence. On Saturday, though, we had <strong>Daniel Klein</strong>, whose edgy, angry acting turned the whole drama up a notch or two. He seemed genuinely on the edge of mania—which was true of most of the characters. But with Klein, you felt it.</p> <p><strong>azumi OE</strong>, a Butoh-trained dancer and choreographer, played the demon Samiel with abrupt and alarming physical transformations from several traditions. That Samiel was up to no good was clear from all of them.</p> <p>The music-making was highly enjoyable, but my hat is especially off—waving in the air—for <strong>Daniel Schlosberg</strong>, who made the extraordinary reduction of the score to seven instrumentalists (whom he led from piano and accordion), forfeiting none of the beauty, the ominous glamour or the melodramatic thrust of Weber’s original. It was a pleasure to be reminded of the music’s many charms, and to hear them again a second night.</p> <p>I am unconvinced by the two lengthy essays in the program that attempt to explain the alterations <strong>Louisa Proske </strong>and <strong>Chloe Treat </strong>have made in the conclusion of this thumpy old libretto, turning it into something that goes clunk in the night. But the excellent bunkhouse set and the lights and haze and spookiness of the Wolf’s Glen—oops, sorry, Canyon—were appropriate and atmospheric. The sets, lighting, sound, electronic music and props designers are all to be congratulated, though I have no idea how to apportion the praise.</p> <p>Photos: Russ Rowland (header, women&#8217;s chorus), Andrew Boyle (men in smoke, Samiel)</p> True West https://parterre.com/2019/12/10/true-west-2/ parterre box urn:uuid:9b78fed5-ec62-5fb8-cf86-d7c62e4ba9e1 Tue, 10 Dec 2019 13:00:41 +0000 <p><a href="https://parterre.com/2019/12/10/true-west-2/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/fanciulla-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/fanciulla-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/fanciulla-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/fanciulla-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/fanciulla-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/fanciulla-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>On this day in 1910 Puccini&#8217;s<em> La fanciulla del West</em> had its world premiere at the Met. </p> <p><a href="//www.youtube.com/watch?v=fYE9mjrZob0&#038;fmt=18">//www.youtube.com/watch?v=fYE9mjrZob0</a></p> <p>Puccini was present to hear<strong> Emmy Destinn</strong>, <strong>Enrico Caruso</strong> and <strong>Pasquale Amato</strong>, with <strong>Arturo Toscanini</strong> conducting.<strong> David Belasco</strong> made his Metropolitan Opera debut as stage director.</p> <p>Also on this day in 1910 French composer, organist, and ornithologist <strong>Olivier Messiaen</strong> was born.</p> <p><a href="//www.youtube.com/watch?v=giDpUKm1KmM&#038;fmt=18">//www.youtube.com/watch?v=giDpUKm1KmM</a></p> Strictly Come Dancing 2019 | Final Songs & Dances http://www.balletnews.co.uk/strictly-come-dancing-2019-final-songs-dances/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:c5bd418f-7488-0ddc-735f-815420a42b3e Tue, 10 Dec 2019 13:00:10 +0000 EMMA AND ANTON Judges Pick – Charleston (Thoroughly Modern Millie from Musicals Week) Showdance – Let Yourself Go (Irving Berlin) Favourite Dance – TBA KARIM AND AMY Judges Pick – Quickstep (Mr....<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/ZkaKv9zNKlA" height="1" width="1" alt=""/> A Baroque Odyssey: 40 Years of Les Arts Florissants http://www.operatoday.com/content/2019/12/a_baroque_odyss.php Opera Today urn:uuid:b71e427a-0295-e234-e83f-e16cf29a089e Tue, 10 Dec 2019 10:39:52 +0000 In 1979, the Franco-American harpsichordist and conductor, William Christie, founded an early music ensemble, naming it Les Arts Florissants, after a short opera by Marc-Antoine Charpentier. Schubert: Winterreise https://joycedidonato.com/2019/12/09/winterreise/ Joyce DiDonato urn:uuid:817aa4df-068b-325b-d051-647ba8abe0f1 Tue, 10 Dec 2019 07:29:21 +0000 Le Club Musical de Québec Yannick Nézet-Séguin, piano <p><a href="https://www.clubmusicaldequebec.com/cmq/index.php/programmation/saison-2019-2020/joyce-didonato-yannick-nezet-seguin" rel="noopener noreferrer" target="_blank">Le Club Musical de Québec</a></p> <p>Yannick Nézet-Séguin, piano</p> Miracle on Ninth Avenue http://www.operatoday.com/content/2019/12/miracle_on_nint.php Opera Today urn:uuid:a9b39632-f2f2-343e-af3c-22c4fd3dd030 Mon, 09 Dec 2019 21:37:00 +0000 Gian Carlo Menotti&rsquo;s holiday classic, Amahl and the Night Visitors, was the first recorded opera I ever heard. Each Christmas Eve, while decorating the tree, our family sang along with the (still unmatched) original cast version. We knew the recording by heart, right down to the nicks in the LP. Ever since, no matter what the setting or the quality of a performance, I cannot get through it without tearing up. Here's What Every Ballet Student Should Look for in Their Training Program https://www.pointemagazine.com/colorado-ballet-academy-2641428288.html Pointe Magazine urn:uuid:89e70d2d-f970-5898-5a74-464d24228623 Mon, 09 Dec 2019 15:55:40 +0000 <img src="https://assets.rbl.ms/22107849/origin.png"/><br/><br/><p>When you're looking for a ballet program to take you to the next level, there are a lot of factors to consider. While it's tempting to look for the biggest name that will accept you, the savvy dancer knows that successful training has more to do with the attention and opportunities you'll get.</p><p>We put together a few of the most important things for dancers to look for in a summer or year-round training program, with the help of the experts at <a href="https://www.coloradoballet.org/academy" target="_blank">Colorado Ballet Academy</a>:</p><hr/><h3>A clear path to job opportunities.</h3><br/><p>Like most programs, <a href="https://www.coloradoballet.org/academy/summer-intensive" target="_blank">the summer intensive at Colorado Ballet Academy</a> is the threshold to becoming part of the year-round school. (In fact, Academy director <a href="https://www.coloradoballet.org/academy-staff/erica-fischbach" target="_blank">Erica Fischbach</a> says that some past summer intensive dancers have been hired directly into the studio company.) But what makes CBA stand out are the clear stepping stones toward a company contract that include benefits like pointe shoes and an hourly wage, rather than a bill.</p><p>According to Fischbach, <a href="https://www.coloradoballet.org/company-dancers/gil-boggs" target="_blank">Colorado Ballet artistic director Gil Boggs</a> chooses two to three trainees every year who receive large scholarships and a shoe allowance. Trainees understudy company roles in addition to their pre-professional training schedule and often end up performing in company productions. "It is a true trainee opportunity," says Fischbach, "because you are not paying to be here, and you get experience with the company."</p><p>Approximately six pre-professional students are accepted into <a href="https://www.coloradoballet.org/company/studiocompany" target="_blank">Colorado Ballet's Studio Company</a> each year, which is a paid position, says Fischbach. The Studio Company gets to dance with the main company extensively during the season as well as take on soloist and principal roles in their own performance series throughout the region.</p><h3>None</h3><br/><img alt="Three teen boys in black tights and white shirts jump in front of large windows in a studio. They have one leg in passe, one arm in fifth position and the other hand on their hips" class="rm-shortcode" data-rm-shortcode-id="XQQ6M01575911112" data-rm-shortcode-name="rebelmouse-image" id="16282" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEwNzgzNS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTU3ODE3NjIzNn0.Nwie8qRWcvWvQqbFhfh2TEsgmR8tVMW9o6e16mmBTZo/img.png?width=980"/><h3>Training that nurtures the whole dancer.</h3><br/><p>If you're moving away from home to train, look for schools that have opportunities to prepare your mind as well as your body. At CBA, <a href="https://www.coloradoballet.org/academy/pre-professional" target="_blank">pre-professional students</a> have a weekly life skills class that includes talks on wellness and nutrition, injury prevention with Colorado Ballet company physical therapists, and a wide range of other offerings.</p><p>"We have a series called theatrical careers where someone from every department in Colorado Ballet comes to talk about their job and what led them there," says Fischbach. "As a dancer I had no idea how many people were working to make my career possible, so it's my goal to open our students' eyes to the people working around them and the opportunities in those careers."</p><p>Other sessions teach students how to write compelling bios, resumes and cover letters, or give costume-making tutorials, so students have the skills to handle a costume disaster on their own if they need to. The program also provides students with access to sessions with a mental health professional, and the company's onsite physical therapists and massage therapists at reduced costs.</p><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="6BIJ6P1575911112" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/lM4SRwHaiMY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h3>Stage time.</h3><br/><p>At CBA, <a href="https://www.coloradoballet.org/academy/performances" target="_blank">the amount of performance opportunities</a> mimics company life in order to fully prepare students for a career in dance. They have two big shows: A "Fall Feature" and an end-of-school-year production at the Ellie Caulkins Opera House where the professional company performs. But it's more than a run-of-the-mill recital: Fischbach and Academy faculty adapt a full-length classical ballet. "It gives the students the opportunity to work on classical technique and artistry and to be a part of of a multidimensional production," says Fischbach. "They aren't just performing excerpts; they are contributing to the larger story."</p><p>The pre-professional levels also have a "Saturday Soiree" performance every five weeks in Colorado Ballet's black box theater. "Sometimes the choreographers are company members, ballet mistresses or local choreographers from outside of the ballet, so they get a nice range of experiences," says Fischbach. The series also includes a final performance of a student choreographic workshop where pre-pro students cast and choreograph new works on each other.</p><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="BV392Z1575911112" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/UD1h82RVqqk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h3>An appealing location.</h3><br/><p>Look for a place that will inspire you in and out of the studio. Every year, Fischbach takes the pre-professional dancers on a hike to kick off the school year. "I want them to start off knowing what is out there and how lucky we are to be in this beautiful place," she says. Denver is known for its breathtaking mountains and natural spaces, but also boasts a dynamic food scene, professional sports teams, and one of the most famous music venues in the world—Red Rocks Amphitheater. Summer intensive students get to take it all in during weekend trips.</p><h3>None</h3><br/><img alt="Three teen girls in purple leotards and white practice tutus are in passe en pointe. They lean slightly away from their working leg, reaching towards the floor with one arm with the other arm up." class="rm-shortcode" data-rm-shortcode-id="UOECL61575911112" data-rm-shortcode-name="rebelmouse-image" id="97ae7" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEwNzgyOS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTU3ODc1MTQ2NH0.QUEr5EP4ShhbibgmGtMFM3RUMluKzZVTYJQeiKXwZBg/img.png?width=980"/><h3>Unique experiences.</h3><br/><p>The summer intensive chaperones at Colorado Ballet Academy aren't your average RAs. The academy employs Colorado Ballet company dancers to come up with weekend activities, get students to and from the studios on the light rail, and deliver lunch catered by local restaurants. The result is that CBA summer students spend time with professional dancers to cultivate mentors, ask questions about the trials and excitements of a pro dance career, and get advice.</p><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="4CA9M01575911112" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/iwUcyp-xjOs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h3>Star power.</h3><br/><p>The Academy's summer intensive is directed by American Ballet Theatre luminaries Amanda McKerrow and John Gardner. "Their personalities are so generous and inclusive," says Fischbach. "They are directly involved with every single dancer. They know everyone's name and training history, and at the end of each day, they see all the students off to their dorms with high-fives."</p><p>Students also benefit from learning repertoire directly from the dancers who performed it—and from the individualized attention that the faculty members provide. "They have a gift for inspiring every dancer to unlock artistry they didn't know they had," says Fischbach. "Every student feels like they are an important part of the intensive. They leave with an immense sense of accomplishment and confidence."<br/></p> Veiled threat https://parterre.com/2019/12/09/veiled-threat-2/ parterre box urn:uuid:ced33e1b-bf5a-cd43-eb7a-bb408daf19ab Mon, 09 Dec 2019 13:00:19 +0000 <p><a href="https://parterre.com/2019/12/09/veiled-threat-2/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/salome-other-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/salome-other-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/salome-other-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/salome-other-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/salome-other-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/salome-other-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>On this day in 1905 Richard Strauss&#8217;s <em>Salome</em> premiered in Dresden.</p> <p><a href="//www.youtube.com/watch?v=mQsqG8uPDho&#038;fmt=18">//www.youtube.com/watch?v=mQsqG8uPDho</a></p> <p>Born on this day in 1915 soprano <strong>Elisabeth Schwarzkopf</strong>.</p> <p><a href="//www.youtube.com/watch?v=31CtNc0Zp2c&#038;fmt=18">//www.youtube.com/watch?v=31CtNc0Zp2c</a></p> <p>Born on this day in 1897 actress <strong>Hermione Gingold</strong>.</p> <p><a href="//www.youtube.com/watch?v=rl5GYWgB0RY&#038;fmt=18">//www.youtube.com/watch?v=rl5GYWgB0RY</a></p> The Common Good http://medicine-opera.com/2019/12/the-common-good/ Neil Kurtzman urn:uuid:7138edb7-8deb-939d-1421-1b7bf979bf0e Mon, 09 Dec 2019 00:27:00 +0000 Conservatives Need To Support Labor As Much As They Support Capital Formation is a piece by Jon Schweppe. In it he argues for policies which he thinks will benefit the common good. He thinks that the government should encourage the well being of workers and that such a stance should be supported by conservatives since... <p><a href="https://dailycaller.com/2019/12/06/conservatives-labor-capital-formation/" target="_blank" rel="noopener">Conservatives Need To Support Labor As Much As They Support Capital Formation</a> is a piece by Jon Schweppe. In it he argues for policies which he thinks will benefit the <em>common good</em>. He thinks that the government should encourage the well being of workers and that such a stance should be supported by conservatives since the well being of workers is in the national interest. He thinks that taxes on workers should be the same as on capital and that shoddy policies on trade, immigration, and our corrupt education system should also be addressed.</p> <p>Great! It&#8217;s hard to argue with this stance. But how exactly are these changes to be enacted? We live in a country of 330 million people, 51 states and the District of Columbia, numerous overseas possessions, 100 senators and 430 representatives who can&#8217;t even pass a budget, innumerable lobbyists, a national debt that&#8217;s bigger than the Andromeda Galaxy &#8211; a country in which half its population wants to impeach its president while the other half wants to re-elect him. A country that can&#8217;t distinguish singular from plural, or who&#8217;s a boy and who&#8217;s a girl, or how many pronouns there are much less which to use, and Mr Schweppe, who doesn&#8217;t have to work for a living &#8211; he&#8217;s at a think tank &#8211; believes rational change is just around the corner, or no more than a block away. Forget about rational changes, just avoiding irrational ones would be a major accomplishment.</p> <p>Which brings me to being kind to medical students. People who write on this subject &#8211; most of them also don&#8217;t really work for a living &#8211; have advocated for a kinder and gentler approach to medical students and postgraduate trainees. They cite the bad old days when doctors in training were subjected to abuse equal or worse than that imposed by Torquemada and associates.</p> <p>Well, there&#8217;s no older product of those bad old days than me. When I did something stupid, alas a not infrequent occurrence during my student days, I was often told I was a moron or the equivalent and was even struck on one occasion. Interestingly, I now look back on those who were hardest on me as the best teachers charged with the responsibility of preventing me from error during my years as a trainee. I cannot think of an instance when I was forcibly told I had done something wrong that was undeserved.</p> <p>Medicine is a serious occupation in which the opportunities for mischief exist in far greater profusion than those which carry benefit. I vividly recall every mistake I made in more than half a century in the profession. Fortunately these errors were few and never deadly. My father died at age 50 because of a medical error which makes me even more sensitive to the consequences of medical mishap.</p> <p>My training in medicine lasted a decade, after that I was responsible for the education of physicians at all levels of study. I never raised my voice, used bad language, or was disrespectful of a student&#8217;s dignity. I did, however, let them no without ambiguity when they had done something wrong and always made sure that they did not lapse into error again, at least to the extent possible.</p> <p>Here&#8217;s a rather bland <a href="https://www.medscape.com/viewarticle/919245?src=WNL_bom_191208_MSCPEDIT&amp;uac=77922DX&amp;impID=2193664&amp;faf=1" target="_blank" rel="noopener">discussion</a> of the subject by Art Caplan, a medical ethicist. My own opinion, being out of the game now, is that teachers of medicine should be as tough as possible on trainees who err. The only limitation I&#8217;d set is would you care if the corrective encounter found its way to YouTube.</p> <p>Human beings routinely make mistakes. Medical error likely take second place only to military blunders. The current multi-trillion dollar medical monster that confronts every patient who falls into its maw has little in the way of patient protection built into its government and computer driven machinery. About all that&#8217;s left are doctors who care about the well being of their patients. Such care requires that physicians never let up their vigilance. The operative assumption is that somebody will screw up. This means constant attention to every detail and the conviction that your instructions will not be followed as spoken or written. It takes a lot of tough training to get ready for this task</p> <p>Accordingly, when your going through the medical equivalent of Marine Corps boot camp, don&#8217;t expect your drill sergeant to be like your mother.</p> <p>&nbsp;</p> Strictly Come Dancing 2019 | Semi Final Results http://www.balletnews.co.uk/strictly-come-dancing-2019-semi-final-results/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:bb4dce97-5e9f-d2de-d242-671cd0426fee Sun, 08 Dec 2019 20:00:21 +0000 Niall Horan, Katya Jones, Gorka Marquez &#8211; (C) BBC &#8211; Photographer: Guy Levy Chris Ramsey is the latest celebrity to depart the dance floor in Strictly Come Dancing 2019 This weekend four...<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/HNk2mgw4VXk" height="1" width="1" alt=""/> Orlando https://parterre.com/2019/12/08/orlando/ parterre box urn:uuid:2db203cb-193a-26d5-645c-8e306bb4843c Sun, 08 Dec 2019 18:58:30 +0000 <p><a href="https://parterre.com/2019/12/08/orlando/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/orlando-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/orlando-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/orlando-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/orlando-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/orlando-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/orlando.jpg 1297w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>The world premiere of <strong>Olga Neuwirth</strong>&#8216;s opera in a live broadcast from the Vienna State Opera.</p> <p><img src="https://parterre.com/wp-content/uploads/2019/12/orlando-720-720x405.jpg" alt="" width="720" height="405" class="aligncenter size-large wp-image-66023" srcset="https://parterre.com/wp-content/uploads/2019/12/orlando-720.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/orlando-720-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/orlando-720-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />The <a href="https://oe1.orf.at/player/20191208/585163" rel="noopener noreferrer" target="_blank">broadcast begins</a> at 2:00 PM.</p> <p>Here&#8217;s an excellent <a href="https://www.nytimes.com/2019/12/06/arts/music/orlando-vienna-opera.html" rel="noopener noreferrer" target="_blank">background piece</a> by <strong>Ben Miller</strong>.</p> <p>Photos: Michael Pöhn</p> The Confession Stone https://operaramblings.blog/2019/12/08/the-confession-stone/ operaramblings urn:uuid:53b37e1e-fafc-ac6e-3b19-c92009c4ae49 Sun, 08 Dec 2019 18:29:19 +0000 I wanted to listen to Robert Fleming&#8217;s song cycle The Confession Stone today but I didn&#8217;t appear to have a recording in my strangely eclectic collection of physical and digital recordings.  There&#8217;s nothing either on any of the umpty ump &#8230; <a href="https://operaramblings.blog/2019/12/08/the-confession-stone/">Continue reading <span class="meta-nav">&#8594;</span></a> <p>I wanted to listen to Robert Fleming&#8217;s song cycle <em>The Confession Stone</em> today but I didn&#8217;t appear to have a recording in my strangely eclectic collection of physical and digital recordings.  There&#8217;s nothing either on any of the umpty ump labels distributed by Naxos USA (lucky me has pretty much unlimited access tot heir digital catalogue) so off I went to YouTube.  And I found a lovely recording by the talented duo of Wallis Giunta and Steven Philcox.  Enjoy.</p> <p style="text-align:center;"> <iframe class='youtube-player' type='text/html' width='584' height='329' src='https://www.youtube.com/embed/sOI61XHMcGU?version=3&#038;rel=1&#038;fs=1&#038;autohide=2&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;wmode=transparent' allowfullscreen='true' style='border:0;'></iframe></p> Sie kämmt ihr goldenes Haar https://parterre.com/2019/12/08/sie-kammt-ihr-goldenes-haar/ parterre box urn:uuid:eaf02be6-270a-e0b5-0cdb-cf5e728e1601 Sun, 08 Dec 2019 16:34:20 +0000 <p><a href="https://parterre.com/2019/12/08/sie-kammt-ihr-goldenes-haar/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/blondes-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/blondes-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/blondes-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/blondes-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/blondes-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/blondes-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>On this day in 1949 the <strong>Jule Styne</strong> musical <em>Gentlemen Prefer Blondes</em> opened at the Ziegfeld Theatre, making a star of <strong>Carol Channing</strong> and running 740 performances.</p> <p><a href="//www.youtube.com/watch?v=p3rMdOSRYqw&#038;fmt=18">//www.youtube.com/watch?v=p3rMdOSRYqw</a></p> The Royal Winnipeg Ballet | TWENTY YEARS OF MAGIC FROM RWB’S NUTCRACKER http://www.balletnews.co.uk/the-royal-winnipeg-ballet-twenty-years-of-magic-from-rwbs-nutcracker/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:efa7704e-513b-8319-3dd5-8923fb57aba0 Sun, 08 Dec 2019 15:01:59 +0000 Former RWB Dancer Saeka Shirai (2015-2019), and Students; Photo by David Cooper Since 1999, families have flocked to see the Royal Winnipeg Ballet’s reimagined story of Nutcracker, which returns once...<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/_OMebvzqktU" height="1" width="1" alt=""/> Detlev Glanert: Requiem for Hieronymus Bosch (UK premiere) http://www.operatoday.com/content/2019/12/glanert_requiem.php Opera Today urn:uuid:2205f37d-a176-14a8-df4e-d01ac93abdb9 Sun, 08 Dec 2019 14:55:05 +0000 It is perhaps not surprising that the Hamburg-born composer Detlev Glanert should count Hans Werner Henze as one of the formative influences on his work - he did, after all, study with him between 1984 to 1988. Death in Venice at Deutsche Oper Berlin http://www.operatoday.com/content/2019/12/death_in_venice.php Opera Today urn:uuid:86b98a51-137f-b2dc-5105-26609c172ed1 Sun, 08 Dec 2019 08:22:57 +0000 This death in Venice is not the end, but the beginning. Strictly Come Dancing 2019 | Semi Final http://www.balletnews.co.uk/strictly-come-dancing-2019-semi-final/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:eb768334-b296-b225-7c79-61ee730dea42 Sat, 07 Dec 2019 20:19:00 +0000 The Strictly Semi-final songs and dances were released earlier this week. Each couple, as per tradition, will perform two dances. *LIVE SHOW* Oti Mabuse, Kelvin Fletcher &#8211; (C) BBC &#8211;...<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/0gFGhphYaQU" height="1" width="1" alt=""/> Give me libertine https://parterre.com/2019/12/07/give-me-libertine/ parterre box urn:uuid:b109acaf-9da8-2cde-9f80-5eb558b7bc29 Sat, 07 Dec 2019 18:25:03 +0000 <p><a href="https://parterre.com/2019/12/07/give-me-libertine/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/mckinny-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/mckinny-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/mckinny-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/mckinny-header-768x261.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/mckinny-header-210x71.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/mckinny-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p><B>Ryan McKinny</b>’s Don is subtler, slyer, smoother, with a sharp wit and sense of dark humor that gives added dimension to the role.</p> <p><img class="aligncenter size-large wp-image-66006" src="https://parterre.com/wp-content/uploads/2019/12/mckinny-720-720x405.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2019/12/mckinny-720.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/mckinny-720-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/mckinny-720-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Italian baritone <strong>Davide Luciano</strong> was originally scheduled to sing the title role in the December performances of <em>Don Giovanni</em> at Lyric Opera of Chicago, but recently cancelled due to injury. Lyric was very lucky to be able to get American bass-baritone <strong>Ryan McKinny</strong>, so brilliant in the recent <em>Dead Man Walking</em>, to sing The Don. McKinny had recently made his role debut as Don Giovanni at Houston Grand Opera, so he was a natural choice to take over the role.</p> <p>Yesterday’s matinee performance showed that all aspects of Robert Falls’ superb production are still intact, perhaps even better than when I first attended on November 17. Every one of the principal singers sang with more confidence, particularly <strong>Amanda Majeski</strong>’s Donna Elvira.</p> <p>I was impressed with her before, but yesterday her performance had gained significant emotional depth and attention to detail. I continue to be impressed with how Lyric managed to assemble such a uniformly superb cast of singing actors to populate the glorious designs of set, costumes, and lighting.</p> <p><strong>Ryan McKinny</strong> proved a completely different Don than his predecessor <strong>Lucas Meachem</strong>. First of all, while well-muscled, he is a physically much slighter, smaller, younger Don Giovanni. This meant that McKinny approached the role in an entirely different but just as valid way than the physically imposing Meachem. McKinny’s Don is subtler, slyer, smoother, with a sharp wit and sense of dark humor that gives added dimension to the role.</p> <p>His rich bass-baritone is possibly a size smaller than ideal in the gigantic opera house, but he sang with burnished golden tone throughout. He is a superb physical actor and moves with snake-like grace as he seduces every woman in sight.</p> <p>His seduction technique is of necessity quieter, smarter, using his brain power to ascertain the weaknesses of his targets, then moving in to fill their emotional voids with passionate flattery, using his noble status ruthlessly. He is not a brutishly imposing Don, but rather a dangerously tense and coiled one, always ready to pounce at any sign of female frailty.</p> <p>It is a tribute to this lavish production that it perfectly suits two such different Dons. And it was a great pleasure to hear this wonderful cast singing and acting with such brilliance and panache. I can’t wait to hear more from <strong>Rachel Willis-Sorensen, Majeski, Ben Bliss, Ying Fang, Brandon Cedel, Matthew Rose</strong> and <strong>Mika Kares</strong>. I think McKinny’s Don is still a bit of a work-in-progress, but he was just as riveting to watch here as he was as Joseph deRocher just a month before.</p> <p>Photo: Simon Pauly</p> What’s in a Decade? http://medicine-opera.com/2019/12/whats-in-a-decade/ Neil Kurtzman urn:uuid:a926e7d2-f123-0b44-30d6-50892156c198 Sat, 07 Dec 2019 17:23:11 +0000 What a Way To End the Decade is the headline of a Fox Business report on the November jobs report. I suspect it&#8217;s not a good idea to get financial updates from an organization that doesn&#8217;t know when a decade ends, though such confusion is common. A consecutive sequence of 10 starting with 1 ends with... <p><a href="https://grabien.com/story.php?id=263733" target="_blank" rel="noopener">What a Way To End the Decade</a> is the headline of a <em>Fox Business</em> report on the November jobs report. I suspect it&#8217;s not a good idea to get financial updates from an organization that doesn&#8217;t know when a decade ends, though such confusion is common. A consecutive sequence of 10 starting with 1 ends with 10. As there is no year zero in either the abandoned Julian calendar or the current Gregorian one, the first decade AD ended in the year 10. Thus, all decades end in a zero, as do all centuries, and millennia. The current decade will end December 31, 2020.</p> <p>This is the reason Stanley Kubrick who knew when the old milenia would end called his movie <em>2001: A Space Odyssey</em>. Rather than <em>2000: etc.</em> I know this is not earth shattering news, but you&#8217;d likely be better off getting information from someone who could read a calendar.</p> <p>Happy end of the 9th year of the decade.</p> Staatskapelle Berlin/Schiff - Bach, 6 December 2019 http://boulezian.blogspot.com/2019/12/staatskapelle-berlinschiff-bach-6.html Boulezian urn:uuid:e057008f-9f0c-e4b2-8523-7486a1b37e78 Sat, 07 Dec 2019 16:58:39 +0000 <br /><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Pierre Boulez Saal<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Orchestral Suite no.2 in B minor, BWV 1067<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Piano Concerto no.3 in D major, BWV 1054<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Orchestral Suite no.3 in D major, BWV 1068<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Piano Concerto no.1 in D minor, BWV 1052<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;">Claudia Stein (flute)</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;">Staatskapelle Berlin</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;">András Schiff (piano, conductor)</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Celebrating its 450<sup>th</sup>anniversary next year, the Staatskapelle Berlin traces its proud history long before Bach: be that its ‘own’, Carl Philipp Emanuel, his father, Johann Sebastian—‘Gentlemen, old Bach is here!’—or indeed any family member whom we know as a composer. It is a sad state of affairs to report that, on the similar brink of another anniversary, the 70<sup>th</sup> of the great Bach year of 1950, in whose wake <a href="https://read.dukeupress.edu/new-german-critique/article-abstract/35/2%20(104)/71/33020/Romantic-Modernism-Bach-Furtwa-ngler-and-Adorno">Theodor Adorno wrote his coruscating denunciation of authenticist ideology</a>, we still live so much in its baleful shadow that a concert from this ancient orchestra in which it performs only relatively ‘alte Musik’ should remain so remarkable a thing. Whatever reservations I may have felt, then, concerning András Schiff’s direction of this wonderful orchestra—a few, alongside many positive observations—I remain grateful indeed for the experience, for the reminder that it is still just about possible to hear Bach played by a modern orchestra without compelling its players to sound like an end-of-pier band, or indeed simply to hear Bach from a modern orchestra at all. To see Daniel Barenboim in the Pierre Boulez Saal audience, moreover, was encouraging; dare we hope for some more Bach from him, whether as pianist, conductor, or both?<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><span style="mso-spacerun: yes;"><br /></span></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">For the B minor Orchestral Suite, with Claudia Stein as the excellent flute soloist, Schiff, conducting rather than direction from the keyboard, called on a very small string orchestra (4.4.3.2.1) plus harpsichord (Schaghajegh Nosrati). The opening to the Overture, like its counterpart in the D major Suite later on, sounded clipped and inhibited. The main body of the movement came as a significant relief: not only a sensible tempo, so rare nowadays in this music, but with no attempt to inflict weird, egotistical mannerisms upon it. Rhythms were nicely sprung. Crucially, that sense of line strangely lacking earlier on was present throughout. It was initially not clear to me that Schiff’s hand-waving had much bearing on the excellent playing, other than setting the parameters within which it would operate, but entries were well pointed, so perhaps it did after all. The Rondeau and Sarabande proved graceful, without some effete, allegedly French idea of ‘grace’ becoming an end in itself. Once again, the lack of breakneck, attention-seeking tempo was greatly appreciated, also enabling the first Bourrée to come as a vigorous contrast that yet did not neglect its fundamental musical worth. The second, played only by soloists and with darker tone, offered a more relaxed foil. The martial qualities of Polonaise rhythm were communicated, yet again without ‘style’ being taken for idea. Stein’s playing in particular highlighted rhythm in revealing, generative fashion. A further solo foil, this time from flute and continuo, proved idiomatically and emotionally refreshing in the Double. A courtly Menuett led to a Badinerie that was swift without taking speed to fashionable excess, Stein’s agile musicianship matched by a highly responsive orchestra.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Moving to the relative major, a slightly augmented string section (6.6.4.3.2) accompanied Schiff in the D major Concerto, BWV 1054, directed—without harpsichord—from the piano. The first movement’s opening was bright and clear. Just when I was longing for greater variegation of piano tone, Schiff offered some, though I could not help but wish we had heard a little more in that respect. Such is his way, however, as his refusal to use the sustaining pedal; we should all be wary of claims that there is only one way. Light piano ornamentation proved stylish and did not obscure the fundamentals. An eminently musical account of the slow movement permitted depth to come from the notes, as opposed to being some thing applied to them. Command of the long line was here crucial—and unfailing. Some may well have found Schiff’s tempo for the final movement too slow; it is, after all, marked ‘Presto’. For me, his relatively unhurried approach had much to be said for it, permitting the music to speak, with no fashionable sense of harrying it. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">The larger string band was retained for the second half, joined of course by two oboes, three trumpets, kettledrums, and harpsichord for the D major Orchestral Suite, not least in the main body of the first movement. It was taken fast, but far from unreasonably so: music and players could take it. What cultivated string-playing we heard, trumpets in particular enhancing the sense of the festal. If my ears took a minute or so to adjust to a more ‘period’ sound for the kettledrums, I soon ditched my prejudice in the light of such intelligent, rhetorically and harmonically expressive playing from Stephan Möller. Apparent determination to wrest the ‘Air’ from ‘on the G string fame’ left it in a curious state: skated over, with most uncharacteristic vibrato-lite playing. Nosrati’s continuo playing, however, proved a delight. Following a pair of Gavottes that were lively and vigorous, if somewhat short-breathed, the Bourrée and Gigue sounded a little too much as if translated from the keyboard, fine orchestral playing notwithstanding. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">The D minor Concerto, BWV 1052, opened in forthright fashion, Schiff’s tempo choice spot on. (Not that there is a ‘correct’ answer here, but rather that it should work within the context of the performance—which it did.) There was energy enough, but also space. I may have wished it to breathe more at times; again, however, it would be folly to insist upon one’s own aesthetic being applied to everything, for on its own terms, this worked well. A greater problem for me was a lack—at least on certain occasions—of piano legato and a certain heavy-handedness which may have led some to doubt the role of a Steinway in this music. The slow movement, similarly to the Suite’s Air, seemed haunted by a fear of ‘romanticising’; what we heard instead sounded oddly unengaged, Schiff’s piano tone often unforgiving. The finale, however, came off much better: tempo, clarity, and dynamism all just right. Most important of all, it possessed a sense of grandeur such as Bach demands and yet all too rarely receives. Old Bach, it felt, was truly here: not in Potsdam, still less in Leipzig, but in Berlin.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=GB&amp;source=ac&amp;ref=qf_sp_asin_til&amp;ad_type=product_link&amp;tracking_id=boulezian-21&amp;marketplace=amazon&amp;region=GB&amp;placement=B0000034MI&amp;asins=B0000034MI&amp;linkId=329afdbfab698ae2a16bdbf3ab56f4be&amp;show_border=false&amp;link_opens_in_new_window=false&amp;price_color=333333&amp;title_color=0066c0&amp;bg_color=ffffff" style="height: 240px; width: 120px;"></font></p><p></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: 150%"><font face="Georgia, serif">    </iframe><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=GB&amp;source=ac&amp;ref=qf_sp_asin_til&amp;ad_type=product_link&amp;tracking_id=boulezian-21&amp;marketplace=amazon&amp;region=GB&amp;placement=B004EU7WCG&amp;asins=B004EU7WCG&amp;linkId=30eb3b951ab4b9e77ee70eaa516acb8c&amp;show_border=false&amp;link_opens_in_new_window=false&amp;price_color=333333&amp;title_color=0066c0&amp;bg_color=ffffff" style="height: 240px; width: 120px;"></font></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: 150%"><font face="Georgia, serif">    </iframe><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=GB&amp;source=ac&amp;ref=qf_sp_asin_til&amp;ad_type=product_link&amp;tracking_id=boulezian-21&amp;marketplace=amazon&amp;region=GB&amp;placement=B000026GD3&amp;asins=B000026GD3&amp;linkId=ac0ed1e0a74880b149fd4c19481169c1&amp;show_border=false&amp;link_opens_in_new_window=false&amp;price_color=333333&amp;title_color=0066c0&amp;bg_color=ffffff" style="height: 240px; width: 120px;"></font></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: 150%"><font face="Georgia, serif">    </iframe><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=GB&amp;source=ac&amp;ref=qf_sp_asin_til&amp;ad_type=product_link&amp;tracking_id=boulezian-21&amp;marketplace=amazon&amp;region=GB&amp;placement=B00000J84X&amp;asins=B00000J84X&amp;linkId=138e6eeb4e79ae9c15b0f4ced57cf6f5&amp;show_border=false&amp;link_opens_in_new_window=false&amp;price_color=333333&amp;title_color=0066c0&amp;bg_color=ffffff" style="height: 240px; width: 120px;"></font></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: 150%"><font face="Georgia, serif">    </iframe><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=GB&amp;source=ac&amp;ref=qf_sp_asin_til&amp;ad_type=product_link&amp;tracking_id=boulezian-21&amp;marketplace=amazon&amp;region=GB&amp;placement=B000002S2X&amp;asins=B000002S2X&amp;linkId=84676ba764b202ff7f4c8c78288f66b9&amp;show_border=false&amp;link_opens_in_new_window=false&amp;price_color=333333&amp;title_color=0066c0&amp;bg_color=ffffff" style="height: 240px; width: 120px;"></font></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: 150%"><font face="Georgia, serif">    </iframe></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;"><br /></span></div><img src="http://feeds.feedburner.com/~r/Boulezian/~4/RDLJmuJP6e8" height="1" width="1" alt=""/> Hong Kong Ballet | Cast Announced for FANCL Proudly Presents The Nutcracker http://www.balletnews.co.uk/hong-kong-ballet-cast-announced-for-fancl-proudly-presents-the-nutcracker-2/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:d0039843-4937-fda5-a355-c377ab7e94e3 Sat, 07 Dec 2019 16:11:30 +0000 The Nutcracker promotional image &#124; Dancers (from left): Yang Ruiqi, Lauma Berga (till 2018/19 Season) &#124; Creative: Design Army &#124; Photography: Dean Alexander &#124; Courtesy of Hong Kong...<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/WpjwK3Gw1EA" height="1" width="1" alt=""/> Tosca https://parterre.com/2019/12/07/tosca/ parterre box urn:uuid:725e84a6-b0e6-5108-897e-7dcb4a38ed65 Sat, 07 Dec 2019 14:00:21 +0000 <p><a href="https://parterre.com/2019/12/07/tosca/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/11/anna-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/11/anna-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/11/anna-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/11/anna-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/11/anna-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/11/anna-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>The opening night of La Scala features a new production of <em>Tosca</em> featuring <strong>Anna Netrebko</strong>, <strong>Francesco Meli</strong> and <strong>Luca Salsi</strong>.</p> <p><img class="aligncenter size-large wp-image-65814" src="https://parterre.com/wp-content/uploads/2019/11/anna-720-1-720x405.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2019/11/anna-720-1.jpg 720w, https://parterre.com/wp-content/uploads/2019/11/anna-720-1-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/11/anna-720-1-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />The <a href="https://www.raiplayradio.it/articoli/2019/11/Puccini-Tosca-2f992770-4215-4f4a-8d2e-ca55384bd057.html" rel="noopener noreferrer" target="_blank">live broadcast</a> begins at noon EST.</p> If God Be For Us, Who Can Be Against Us? http://www.taminophile.com/2019/12/if-god-be-for-us-who-can-be-against-us.html Taminophile urn:uuid:e6bf863c-fd46-5cb9-bbf5-b49660077a95 Sat, 07 Dec 2019 13:27:49 +0000 Or, <b><i>The First Messiah Performance of the Season</i></b><br /><b><i><br /></i></b>Whilst looking for entertainment I happened upon <a href="https://youtu.be/JH3T6YwwU9s">this performance</a> of dear Mr.&nbsp;Handel's <i>Messiah</i>, and I was perfectly charmed. The information given by the individual who posted this to YouTube is infuriatingly useless, but a commenter noted that the ensemble is Collegium 1704 in Prague, and the conductor is Vaclav Lucs. A quick screen shot at the end revealed the soloists' names.&nbsp; I found the <i>tempi</i> spritely and quite appropriate, quite a contrast to many of the stodgy performances I've witnessed and been a part of. I was impressed with the coloratura ability of each section in those difficult choruses we all know. It was of course obvious that these people are not native English speakers, but after a while I didn't care. At least there was consistency in their mispronunciations! <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-U0OF0kjUVlQ/XeuJtlbngtI/AAAAAAAACkQ/LUk7sCESbQMyLMaS024ype2FT7uYlG-_wCLcBGAsYHQ/s1600/Screen%2BShot%2B2019-12-07%2Bat%2B5.16.02%2BAM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="392" data-original-width="764" height="205" src="https://4.bp.blogspot.com/-U0OF0kjUVlQ/XeuJtlbngtI/AAAAAAAACkQ/LUk7sCESbQMyLMaS024ype2FT7uYlG-_wCLcBGAsYHQ/s400/Screen%2BShot%2B2019-12-07%2Bat%2B5.16.02%2BAM.png" width="400" /></a></div>Let me say this. I have been a choral singer all of my life, and I have always loved <i>Messiah</i>. The score I used in my freshman year of college to perform <i>Messiah</i> is still one of my most treasured possessions.&nbsp; I miss with all my heart the days when I was capable of singing this music. There has never been a time when I was cynical about <i>Messiah</i>. (OK, maybe sometimes about the Hallelujah chorus, but that's understandable.) I used to sing "Comfort Ye/Ev'ry Valley" at every opportunity. Every few years the second Sunday of Advent, when that text is appropriate, falls on my birthday, and that delights me especially. (For the record, that happens this year, but I'm certainly not attempting to sing it this year.)<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-1xVa9rQdkpA/XeuLG3SAYwI/AAAAAAAACkc/O0L2ay0YDScv3imUEckK1pbZLyYpMW2jACLcBGAsYHQ/s1600/Screen%2BShot%2B2019-12-07%2Bat%2B5.21.53%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="471" data-original-width="400" height="320" src="https://1.bp.blogspot.com/-1xVa9rQdkpA/XeuLG3SAYwI/AAAAAAAACkc/O0L2ay0YDScv3imUEckK1pbZLyYpMW2jACLcBGAsYHQ/s320/Screen%2BShot%2B2019-12-07%2Bat%2B5.21.53%2BAM.png" width="271" /></a></div>There are different schools of thought about performance practice. Some people are accustomed to symphonic presentations of this great work, while others will only accept "authentic early music practice", whatever that is. It is my opinion that both positions are valid, and I enjoy them both. I don't need to feel "earlier than thou" to enjoy a Baroque masterpiece, but I do appreciate some nuances that suggest the performers are not reading exactly as printed in the G. Schirmer edition. On the other hand, I still find it surprising to have the alto soloist sing "For he is like a refiner's fire". I want the tenor to sing all four of "Thy rebuke/Behold and see/He was not cut off/But thou didst not leave", but that's probably because I used to enjoy doing them as a set.<br /><br />If you can read the screen shot above, you can get the soloists' names. I liked them all. Yes, dear readers, I liked all the soloists. All of them had the appropriate tone, agility, and artistry for their roles. Because of the quick <i>tempi</i>, none of that tension-causing artificial darkness we so often hear was present. It's simply not possible to sing this music this well with that kind of tension. At the same time, they didn't have that bland, white sound we sometimes hear from "early music" artists, with the possible exception of a few sustained tones sung straight, with no vibrato.&nbsp;<br /><br />But. Maybe it's a sign that I'm aging, but I was more focused on the choruses than the arias. I loved them. For that I credit Mr. Lucs, the conductor. Overall I quite approve of this performance, if that matters, and I recommend giving it a listen when you get a chance.<img src="http://feeds.feedburner.com/~r/Taminophile/~4/OXtgm6zmGNs" height="1" width="1" alt=""/> The Egyptian https://parterre.com/2019/12/07/the-egyptian/ parterre box urn:uuid:77da6d71-ab59-33a6-bdc1-23e07f448849 Sat, 07 Dec 2019 13:00:50 +0000 <p><a href="https://parterre.com/2019/12/07/the-egyptian/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/zachary-header-1-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/zachary-header-1-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/zachary-header-1-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/zachary-header-1-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/zachary-header-1-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/zachary-header-1.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Happy birthday to bass <B>Zachary James</b>.</p> <p><a href="//www.youtube.com/watch?v=ybkWa6sB3Mc&#038;fmt=18">//www.youtube.com/watch?v=ybkWa6sB3Mc</a></p> <p>Zachary can be heard in today&#8217;s <a href="https://www.metopera.org/season/radio/saturday-matinee-broadcasts/station-finder/" rel="noopener noreferrer" target="_blank">Met broadcast</a> of <em>Akhnaten</em> starting at 1:00 PM.</p> <p>On this day in 1940 soprano <strong>Eleanor Steber</strong> made her Metropolitan Opera debut as Sophie. </p> <p><a href="//www.youtube.com/watch?v=MY0Nelsok3U&#038;fmt=18">//www.youtube.com/watch?v=MY0Nelsok3U</a></p> <p>Photo by Jane Hobson.</p> Strictly Come Dancing 2019 | First Photos of Christmas Special Pairings http://www.balletnews.co.uk/strictly-come-dancing-2019-first-photos-of-christmas-special-pairings/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:cfcf1bf5-0f92-67ac-7acc-04d6cbb36af3 Sat, 07 Dec 2019 00:01:00 +0000 The Strictly Come Dancing 2019 Christmas Special will be broadcast on Christmas Day, BBC One at 4.40pm. Debbie McGee, Kevin Clifton &#8211; (C) BBC &#8211; Photographer: Guy Levy(C) BBC &#8211;...<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/SKLbNSBrEHs" height="1" width="1" alt=""/> Four Colorado Ballet Dancers Leap to Higher Ranks https://www.pointemagazine.com/colorado-ballet-dancer-promotions-2641538760.html Pointe Magazine urn:uuid:8c3c22b9-663d-43b8-e6eb-763d2d9a5957 Fri, 06 Dec 2019 21:53:51 +0000 <img src="https://assets.rbl.ms/22136997/origin.jpg"/><br/><br/><p>Last week, Colorado Ballet interrupted <em>Nutcracker </em>rehearsals for an exciting announcement: Four dancers were being promoted. Though all made the jump from the company's corps de ballet, Nicolas Pelletier ascended directly to the rank of soloist, while Sean Omandam, Emily Speed and Melissa Zoebisch were promoted to demi-soloist. This news comes hot on the heels of last August's promotion of <a href="https://www.pointemagazine.com/francisco-estevez-colorado-ballet-2639922784.html" target="_blank">Francisco Estevez to principal</a>.</p><hr/><h3>None</h3><br/><p>Read on below to get to know the four dancers who were promoted. Congratulations to all! </p><h3>Nicolas Pelletier</h3><br/><img class="rm-shortcode" data-rm-shortcode-id="RL38RT1575673516" data-rm-shortcode-name="rebelmouse-image" id="6168d" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEzNzAwMC9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTU3Njg3NzU1OH0.QDy-E8iR3-IfZBo5_xNnx-bibjYaLoG_BqviuDGODok/img.png?width=980"/><p>Quebec City-born <a href="https://www.coloradoballet.org/company-dancers/nicolas-pelletier" target="_blank">Nicolas Pelletier</a> trained at the San Francisco Ballet School and Canada's National Ballet School before joining Alberta Ballet in 2011, where he danced many principal roles including the male leads in Ben Stevenson's <em>Dracula </em>and Jean Grand-Maître's <em>Romeo and Juliet</em>. Pelletier joined Colorado Ballet in 2017. This season, he'll take on a slew of <em>Nutcracker </em>roles including the Mouse King, Arabian and Marzipan. </p><h3>Sean Omandam</h3><br/><img class="rm-shortcode" data-rm-shortcode-id="SW6RGO1575673516" data-rm-shortcode-name="rebelmouse-image" id="e5701" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEzNzA0NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU4MzI1NjU4NX0.HK9ltEnO6IpkIbIs80MDnyRYFd-qZdTpifb4lxMRRcQ/img.jpg?width=980"/><p><a href="https://www.coloradoballet.org/company-dancers/sean-omandam" target="_blank">Sean Omandam</a> is from Fresno, California. He studied at the Harid Conservatory before joining Colorado Ballet's Studio Company in 2004. He was promoted to the company's corps de ballet the following year. In 2014, <a href="https://www.pointemagazine.com/sean-omandam-colorado-ballet-2412820886.html" target="_blank">we featured Omandam</a> in our October/November issue for his behind-the-scenes role creating <a href="https://www.youtube.com/watch?v=MXJL-hjW5w0" target="_blank">hilarious promotional videos</a> for the company.</p><h3>Emily Speed</h3><br/><img class="rm-shortcode" data-rm-shortcode-id="RQFJMN1575673516" data-rm-shortcode-name="rebelmouse-image" id="93c97" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEzNzA1MC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU3NzEwNjg0NH0.Y8I1gFBMvnHx1W59BZUZyPa0uWABwBSqYQTtG94HIrk/img.jpg?width=980"/><p><a href="https://www.coloradoballet.org/company-dancers/emily-speed" target="_blank">Emily Speed</a> grew up in Argyle, Texas, and graduated from Marina Almayeva School of Ballet. She danced with Alabama Ballet, Boulder Ballet and Ballet Tucson before joining Colorado Ballet in 2014. In addition to her work in Denver, Speed has spent a number of recent summers <a href="https://www.pointemagazine.com/vail-dance-festival-jennifer-garner-2639456128.html" target="_blank">performing at the Vail Dance Festival</a>.</p><h3>Melissa Zoebisch</h3><br/><img class="rm-shortcode" data-rm-shortcode-id="E2VHTN1575673516" data-rm-shortcode-name="rebelmouse-image" id="6ef14" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEzNzA1MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU4MDE3MTUwN30.AE7nZ6PVm397o1ulthqMEvn3u2TJsRmKNsyWkZfFkrQ/img.jpg?width=980"/><p>Growing up in Mexico, <a href="https://www.coloradoballet.org/company-dancers/melissa-zoebisch" target="_blank">Melissa Zoebisch</a> graduated from the Chamber Ballet of Jalisco and spent a year at the Kirov Academy of Ballet. Zoebisch danced for the National Dance Company in Mexico<strong> </strong>before joining Colorado Ballet in 2014, where her repertoire includes Lilac Fairy, Sugarplum Fairy and the Wicked Witch in <a href="https://www.pointemagazine.com/wizard-of-oz-septime-webre-2627651036.html" target="_blank">Septime Webre's </a><em><a href="https://www.pointemagazine.com/wizard-of-oz-septime-webre-2627651036.html">The Wizard of Oz</a>. </em></p> Glanert: Requiem for Hieronymus Bosch - UK premiere http://www.operatoday.com/content/2019/12/glanert_requiem.php Opera Today urn:uuid:41a51832-4e0d-af3a-da84-5a77a1b1fc31 Fri, 06 Dec 2019 21:27:17 +0000 The culmination of the BBC Symphony Orchestra’s Total Immersion: Detlev Glanert on Saturday 7 December will be the UK première of the German composer’s Requiem for Hieronymus Bosch conducted by Semyon Bychkov. Strictly stars break world record on It Takes Two http://www.balletnews.co.uk/strictly-stars-break-world-record-on-it-takes-two/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:467794e3-3057-8229-cb05-43d2fd9b2e20 Fri, 06 Dec 2019 19:00:35 +0000 Strictly’s Graziano di Prima breaks World Record in It Takes Two Pro Challenge Tonight it will be revealed live on It Takes Two that Graziano di Prima has won It Takes Two’s annual pro challenge....<br/> <br/> [[ This is a content summary only. Visit my website for full links, other content, and more! ]]<img src="http://feeds.feedburner.com/~r/co/RudC/~4/cQ7duH-r9bY" height="1" width="1" alt=""/> Kampe/BPO/Thielemann - Wagner and Strauss, 5 December 2019 http://boulezian.blogspot.com/2019/12/kampebpothielemann-wagner-and-strauss-5.html Boulezian urn:uuid:e1eef3d3-f035-807d-deaa-f8e4d5d7cb3b Fri, 06 Dec 2019 15:32:23 +0000 <br /><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Philharmonie</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Georgia&quot;,serif;">Wagner: </span></b><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Georgia&quot;,serif;">Lohengrin</span></i><span style="font-family: &quot;Georgia&quot;,serif;">: Prelude to Act I<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Georgia&quot;,serif;">Strauss: </span></b><span style="font-family: &quot;Georgia&quot;,serif;">Sonatina for sixteen wind instruments in F major, WoO 135, ‘Aus der Werkstatt eines Invaliden’<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Georgia&quot;,serif;">Strauss: </span></b><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Georgia&quot;,serif;">Drei Hymnen</span></i><span style="font-family: &quot;Georgia&quot;,serif;">, op.71<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Georgia&quot;,serif;">Strauss: </span></b><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Georgia&quot;,serif;">Der Rosenkavalier</span></i><span style="font-family: &quot;Georgia&quot;,serif;">: Suite, op.59<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;">Anja Kampe (soprano)</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;">Berlin Philharmonic Orchestra</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;">Christian Thielemann (conductor).&nbsp;</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">First came an unscheduled tribute to Mariss Jansons: the first-act Prelude to <i style="mso-bidi-font-style: normal;">Lohengrin</i>. In Jansons’s honour, the Berlin Philharmonic offered a glowing, performance of such translucency that even Wagner, at the height of his Young Hegelianism, might have accepted ‘transcendent’ as description in this case. Certainly that pulsating shimmer from the Berlin violins more than hinted at a Grail rendered immanent. Only toward the close did a little excessive moulding from Christian Thielemann suggest the presence of ego. Otherwise, all was much, I fancied, as Jansons might have dreamed of.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">A rare opportunity to hear Strauss’s late Sonatina ‘Aus der Werkstatt eines Invaliden’ followed: so rare, indeed, that this was the first Berlin Philharmonic performance. For much of the opening and closing movements, alas, I could not help but wish that the excellent players—just think of those wind soloists—had played without a conductor, Thielemann seemingly insistent on making a meal of, even becoming bogged down in, phrases and paragraphs that need to sparkle as a knowingly late tribute to Mozart: <i style="mso-bidi-font-style: normal;">Sekt</i> rather than champagne, yet the very best <i style="mso-bidi-font-style: normal;">Sekt</i>. That said, he and they from the outset conjured to perfection a post-<i style="mso-bidi-font-style: normal;">Capriccio</i> harmonic soundworld. Moreover, the first movement’s climax and retreat therefrom proved wholly convincing. The central ‘Romanze und Menuett’ worked better overall, enabling one to take joy in sheer beauty of sound—how to choose between the likes of Emmanuel Pahud, Albrecht Mayer, Andreas Ottensamer, Stefan Dohr, Daniele Damiano, <i style="mso-bidi-font-style: normal;">et al</i>.?—without losing sight of wood for trees. If it sounded as conducted chamber music, that is arguably the point. If direction was not always clear during the finale, it became less effortful as time went on. There was, in any case, no doubting the outstanding quality of the playing.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">Nor was there in the rest of the concert, concerning which I had no reservations whatsoever. These were outstanding performances in every respect, Thielemann, Anja Kampe, and this magnificent orchestra truly in their Straussian element. Why the three op.71 Hölderlin settings are so rarely performed, I have no idea. This was the first time I had heard them in concert, knowing them entirely from a radiant recording by this orchestra (which gave the 1921 premiere), Karita Mattila, and Claudio Abbado. They are hymns as much to Strauss’s absolute mastery of craft as to love and <i style="mso-bidi-font-style: normal;">Heimat</i>. It is difficult to imagine this performance, as rich in orchestral detail as it was revealing of form and line, being bettered any time soon. The opening ‘Hymn an der Liebe’ proved equally memorable for Kampe’s vividly communicative verbal presence and for the detail and direction of orchestral interludes, that after the third stanza sounding as a condensed passage from the <i style="mso-bidi-font-style: normal;">Alpine Symphony</i> or <i style="mso-bidi-font-style: normal;">Die Frau ohne Schatten</i>. Riding the crest of Strauss’s orchestral waves held no fear for Kampe and surely would not have done with less variegated ‘accompaniment’, yet Thielemann’s understanding of and consideration for the voice proved just as crucial. And yes, the pay-off was ultimately hymnal. ‘Rückkehr in die Heimat’, spun like a magic tapestry, and the similarly phantasmagorical delights of ‘Die Liebe’ followed, the latter resulting in a musico-verbal transformation that would surely have satisfied Hugo von Hofmannsthal himself. Strauss may deny transcendence, yet, with his ability to transfigurate, he scarcely needs to.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;Georgia&quot;,serif;">And so we moved to the familiar if still, in provenance, slightly mysterious 1944 <i style="mso-bidi-font-style: normal;">Rosenkavalier </i>suite. In a dashing, frankly coital Prelude, Thielemann appeared to be making up for lost time. Hand on heart, I have never heard this music better played, be it in Vienna, <a href="https://seenandheard-international.com/2014/12/der-rosenkavalier-in-dresden-a-superlative-evening/">Dresden</a>, or anywhere else. Here, Thielemann could play the orchestra as his instrument, as Strauss’s too, in the very best way. Shaping and detail emerged as one. Lightly (rightly) worn dignity and nobility lay at its heart: deeply moving. Ochs’s torment proved vivid in materialist fashion, as grotesque as anything in <i style="mso-bidi-font-style: normal;">Ein Heldenleben</i>, orchestra ‘speaking’ in absence of word and gesture. His waltz and others were played with evident love; in return, they effortlessly charmed us. A theatrical <i style="mso-bidi-font-style: normal;">Luftpause</i> before the Trio music could readily be forgiven. Likewise the very, very slow tempo of a section built with such mastery as to banish any slight lingering doubt. At the last hurrah, just as before curtain rise, orchestra, conductor, and composer sounded as one. Wonderful! <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=GB&amp;source=ac&amp;ref=qf_sp_asin_til&amp;ad_type=product_link&amp;tracking_id=boulezian-21&amp;marketplace=amazon&amp;region=GB&amp;placement=B00JOMC5JY&amp;asins=B00JOMC5JY&amp;linkId=6c5a63360e657a2e8761a9815b9d217b&amp;show_border=false&amp;link_opens_in_new_window=false&amp;price_color=333333&amp;title_color=0066c0&amp;bg_color=ffffff" style="height: 240px; width: 120px;"></font></p><p></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: 150%"><font face="Georgia, serif">    </iframe><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=GB&amp;source=ac&amp;ref=qf_sp_asin_til&amp;ad_type=product_link&amp;tracking_id=boulezian-21&amp;marketplace=amazon&amp;region=GB&amp;placement=B00JOMC3RS&amp;asins=B00JOMC3RS&amp;linkId=6bc77355ac4f3bea795b1fde8ba90873&amp;show_border=false&amp;link_opens_in_new_window=false&amp;price_color=333333&amp;title_color=0066c0&amp;bg_color=ffffff" style="height: 240px; width: 120px;"></font></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: 150%"><font face="Georgia, serif">    </iframe><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=GB&amp;source=ac&amp;ref=qf_sp_asin_til&amp;ad_type=product_link&amp;tracking_id=boulezian-21&amp;marketplace=amazon&amp;region=GB&amp;placement=B00005AAFA&amp;asins=B00005AAFA&amp;linkId=3994888152d9aa351d726b6773691cc2&amp;show_border=false&amp;link_opens_in_new_window=false&amp;price_color=333333&amp;title_color=0066c0&amp;bg_color=ffffff" style="height: 240px; width: 120px;"></font></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: 150%"><font face="Georgia, serif">    </iframe></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;"><br /></span></div><img src="http://feeds.feedburner.com/~r/Boulezian/~4/Ly4GUCew738" height="1" width="1" alt=""/> Check Out Misty Copeland’s Gorgeous Campaign for Stuart Weitzman https://www.pointemagazine.com/misty-copeland-stuart-weitzman-2641536026.html Pointe Magazine urn:uuid:c5ad025c-47c9-97e2-ab99-2375c6915717 Fri, 06 Dec 2019 14:46:14 +0000 <img src="https://assets.rbl.ms/22136209/origin.jpg"/><br/><br/><p> It is perhaps the understatement of the century to say that Misty Copeland—<a href="https://www.dancespirit.com/misty-copeland-and-six-other-dancers-promoted-at-abt-2326609661.html" target="_blank">American Ballet Theatre principal</a>, <a href="https://www.dancespirit.com/10-black-ballerinas-carrying-on-misty-copelands-legacy-2530899384.html?share_id=3626211" target="_blank">trailblazing role model</a>, and <a href="https://www.dancespirit.com/tag/misty-copeland" target="_blank">straight-up ballet icon</a>—knows how to work a pair of pointe shoes. But a new campaign for Stuart Weitzman, in which Copeland trades her ballet "boots" for some boots of the more traditional kind, proves (<a href="https://www.pointemagazine.com/misty-copeland-fall-2018-under-armour-collection--2604028265.html" target="_blank">yet again</a>) that she's a dance goddess in any kind of footwear.</p><hr/><h3>None</h3><br/><p>Titled "Step Inside," the shoe brand's holiday campaign includes short videos of Copeland set to a snappy remix of "The Dance of the Sugar Plum Fairy." Because there's nothing this artist can't do, she actually choreographed each of the dance-driven spots herself. </p><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="9U7BTB1575651916" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/3YD-wF3Pu8Y?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h3>None</h3><br/><p> There's also an interview in which Copeland talks about how central <em>The Nutcracker</em> is to her holiday experience:</p><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="V1A4JW1575651916" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/8qAiPecVK0c?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h3>None</h3><br/><p> Copeland is always in high demand, but she's been especially busy these past couple of months. In addition to this campaign, she <a href="https://www.popsugar.com/fitness/misty-copeland-dancing-at-2019-american-music-awards-46943817" target="_blank">performed alongside Taylor Swift at the American Music Awards</a>, and she's the latest in a line of A-list celebrities to <a href="https://www.masterclass.com/classes/misty-copeland-teaches-ballet-technique-and-artistry" target="_blank">host an online MasterClass</a>. That's all on top of her <em>Nutcracker</em> duties at ABT, where she's <a href="https://www.abt.org/performances/the-nutcracker/" target="_blank">scheduled to dance the role of Clara, the Princess</a> beginning next weekend. </p> Salome, Staatsoper Unter den Linden, 4 December 2019 http://boulezian.blogspot.com/2019/12/salome-staatsoper-unter-den-linden-4.html Boulezian urn:uuid:efd25870-3640-cbae-ce75-3b7ae0e8fa58 Fri, 06 Dec 2019 13:04:47 +0000 <br /><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-P-956u7rQg8/XepQWs55DcI/AAAAAAAAGb0/pRNxxsGUmmwMEI6lFHaxfhuX9qJq3AhPwCEwYBhgL/s1600/salome_120.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://1.bp.blogspot.com/-P-956u7rQg8/XepQWs55DcI/AAAAAAAAGb0/pRNxxsGUmmwMEI6lFHaxfhuX9qJq3AhPwCEwYBhgL/s640/salome_120.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Images: Monika Rittershaus<br />Oscar Wilde (Christian Natter), Salome (Aušrine Stundytė)</td></tr></tbody></table><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Herod – Vincent Wolfsteiner<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Herodias – Marina Prudenskaya<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Salome – Aušrine Stundytė<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Jochanaan – Thomas J. Mayer<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Narraboth – Peter Sonn<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Herodias’s Page – Annika Schlicht<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Jews – Ziad Nehme, Michael Smallwood, Matthew Peña, Andrés Moreno Garcia, David Oštrek<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Nazarenes – Adam Kutny, Ulf Dirk Mädler<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Soldiers – Arttu Kataja, Erik Rosenius<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">A Cappadocian – David Oštrek <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">A Slave – Ireene Ollino<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Oscar Wilde – Christian Natter<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Guards – Ernesto Amico, Allen Boxer, Nikos Fragkou, Jonathan Heck, Maximilian Reisinger, Tom-Veit Weber<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Hans Neuenfels (director)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Philipp Lossau (assistant director)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Reinhard von der Thannen (designs)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Kathrin Hauer (assistant stage designer)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Sommer Ulrickson (choreography)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Stefan Bolliger (lighting)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Henry Arnold (dramaturgy)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Staatskapelle Berlin</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Thomas Guggeis (conductor)</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Manipulation lies at the heart of Richard Strauss’s art. One might argue that it lies at the heart of all art; there would be a strong case to be made for that. However, there is something particular about Straussian manipulation. In some ways not dissimilar to that of Puccini—both composers are expert at pressing particular emotional buttons and having many listeners enjoy such manipulation in full knowledge that they are being manipulation—it differs in the extraordinary level of technical sophistication and, often if not always, in the nested levels of knowing reflexion-in-contrivance. Artifice is good, then: perhaps, after Nietzsche, more in opposition to ‘bad’ than to ‘evil’. For Strauss, as <i style="mso-bidi-font-style: normal;">Salome</i> makes abundantly clear, is no more a Christian, perhaps even less willing to admit of metaphysical transcendence, than Nietzsche, of whom he had been an avid and discerning reader. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Wy23RccqNag/XepQeUVc3QI/AAAAAAAAGcY/PahuGdvXIzYtANPO2KbiQitsfXWb1zlxQCEwYBhgL/s1600/salome_219.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1065" height="400" src="https://1.bp.blogspot.com/-Wy23RccqNag/XepQeUVc3QI/AAAAAAAAGcY/PahuGdvXIzYtANPO2KbiQitsfXWb1zlxQCEwYBhgL/s400/salome_219.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Salome and Wilde</td></tr></tbody></table><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Manipulation lies at the heart of </span><i style="font-family: Georgia, serif;">Salome </i><span style="font-family: &quot;georgia&quot; , serif;">too; it lies also at the heart of Hans Neuenfels’s production, which, </span><a href="http://boulezian.blogspot.com/2018/03/salome-staatsoper-unter-den-linden-17.html" style="font-family: Georgia, serif;">having seen when new last year</a><span style="font-family: &quot;georgia&quot; , serif;">, I was keen to see again. What I think came across still more strongly than last time—this may just have been me—was the central character’s awakening to that manipulation and, concomitantly, to her ability to manipulate. Such was a signal achievement for Aušrine Stundytė, showing herself every inch a singing actress, throwing everything into a performance that, rightly, was not always pretty, not always to be kept within bounds, very much a force of nature: trying, testing, both winning and losing. Working with Neuenfels’s staging—for which we should also understand Reinhard von der Thannen’s striking designs, Sommer Ulrickson’s choreography, and Henry Arnold’s thoughtful and provocative dramaturgy—we saw and heard from Stundytė a Salome led to self-discovery and ultimately to tragedy not only by Strauss but verbally and visibly by Oscar Wilde himself.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">The latter’s advent, first foretold in neon lights (‘Wilde is coming’) and then portrayed, offered intriguing counterpoint to Jochanaan’s foretelling of another leader (and, if you like, divine manipulator)—and was once more acted and danced in a mesmerising fashion perhaps more readily associated with Salome herself by Christian Natter. And is not the Christ of whom this John the Baptist speaks his and his alone, a product of the imagination and repressed desires of a religious fanatic, incarcerated within—visible, throughout—phallic cistern. Was not Christianity always thus: recall Nietzsche’s ‘there was only one Christian and he died on the Cross’. Other religions are, true enough to the opera, treated no more favourably. Their claims, voiced exclusively by men, seem no more plausible and, perhaps more to the point, no more relevant to the story unfolding and to human flourishing beyond that particular story, than a horoscope. Strauss’s failure to conjure up music of more than empty ‘gravity’ for references to Christ tell their own story. Who manipulates whom, and to what end?</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Z3WtDFMVK6A/XepQcdVCljI/AAAAAAAAGcU/A9YiBRaE4jkcRph1Vw6ZH5-8FtNvcJ0XACEwYBhgL/s1600/salome_138.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://1.bp.blogspot.com/-Z3WtDFMVK6A/XepQcdVCljI/AAAAAAAAGcU/A9YiBRaE4jkcRph1Vw6ZH5-8FtNvcJ0XACEwYBhgL/s640/salome_138.jpg" width="640" /></a></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Salome looks elsewhere, to those who might actually know her: first, yes, to Jochanaan, but ultimately, more productively, to Wilde—and thus to art, to a game that is aesthetic as much as it is sado-masochistic. The two can hardly be distinguished, and why would one try? Weimar-expressionist cabaret beckons from Wildean decadence; Wilde learns from Strauss and Salome too, ultimately adopting a leather harness in her/his/their service. Such blurring of pronouns may be read in various ways—and probably should. In art, perhaps, the mightier the plagiarism, the mightier the achievement. When Jochanaan and the eunuch Wilde seem partially liberated by adopting the corset and bustle that had once constricted the now queerer, pant-suited Princess Salome, who manipulates whom? And yet, gender as play, as game, remains a deadly one. Salome dies; Salome is killed. Patriarchy—an imperialist, orientalist patriarchy at that—wins to fight another day, to slay another woman, another queer voice and body too. Does it not always? And yet, her smashing of one—only one, yet nevertheless one—of <span style="mso-spacerun: yes;">&nbsp;</span>the Jochanaan busts, an aesthetic representations with which Wilde has incited her, remains: as powerful a moment onstage as that of her murder at the command of a tyrant-abuser. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-XR8QG4DJc4w/XepQbYbPd-I/AAAAAAAAGcM/89kgO5ypf34JTZoRi_4FWvy2mNJiYfHKACEwYBhgL/s1600/salome_151.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="975" height="400" src="https://1.bp.blogspot.com/-XR8QG4DJc4w/XepQbYbPd-I/AAAAAAAAGcM/89kgO5ypf34JTZoRi_4FWvy2mNJiYfHKACEwYBhgL/s400/salome_151.jpg" width="243" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Wilde and Jochanaan (Thomas J. Mayer)</td></tr></tbody></table><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><br /></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Herod’s upholding of patriarchal norms, decadent, hypocritical subversion of them notwithstanding, was expertly conveyed in a wheedling, beyond-Mime performance from Vincent Wolfsteiner. Marina Prudenskaya’s Herodias, haughty, contemptuous, impressively controlled in her channelling of sex and gender alike, proved the perfect foil—or, better, manipulator. Thomas J. Mayer likewise offered, in post-Wagnerian marriage of word, tone, and gesture, a Jochanaan for this production, no hint—costume aside—of the ready-to-wear. Peter Sonn proved a worthy successor to Nikolai Schukoff as Narraboth. At times heart-breakingly beautiful of tone, his longing was as aesthetically exquisite as it was therefore doomed. All smaller roles were very well taken indeed, yet also formed part of a greater whole. If I single out Adam Kutny’s First Nazarene and Annika Schlicht’s Page as having made the greatest impression, that is doubtless little more than a highly merited personal reaction.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: &quot;georgia&quot; , serif;">Conducting the outstanding Staatskapelle Berlin, then as now, was Thomas Guggeis. Then he made headlines by standing in at short notice for Christoph von Dohnányi. Now the field was his own and it sounded as much.&nbsp;</span><span style="font-family: &quot;georgia&quot; , serif;">From this bubbling, post-Wagnerian cauldron, anything might spill, unless someone could tame it; the battle was vividly, meaningfully rare, rather than effortlessly aestheticised after, say, Karajan.&nbsp; This was not a tone-poem with words; or was it?&nbsp;</span><span style="font-family: &quot;georgia&quot; , serif;">Unleashing the fabled darkness of this orchestra’s tone to ends in keeping with and in relationship to the vision on stage, yet in no sense constricted by them, Guggeis showed, </span><a href="http://boulezian.blogspot.com/2019/10/katya-kabanova-staatsoper-unter-den.html" style="font-family: Georgia, serif;">as in his recent <i>Katya Kabanova</i> here</a><span style="font-family: &quot;georgia&quot; , serif;">, a keen ear for harmony, line, and orchestral musicodramatic eloquence. Crucially, he commanded the authority to have them speak in the theatre, in the dramatic here-and-now. This is not </span><i style="font-family: Georgia, serif;">Elektra</i><span style="font-family: &quot;georgia&quot; , serif;">; it is not so single-minded, so monomaniacal. There are sideways glances; aesthetic contemplation shading into sexual frustration, if rarely fulfilment; hints at alternative futures; and so on. Such were rendered dramatically—often vividly— immanent, without throwing us from Strauss and Wilde’s central trail. Or so it seemed, for in the absence of any greater metaphysical authority, how could we know?&nbsp; Aesthetically the answer seemed clear, yet how could it not? Who, then, had manipulated whom?</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vxQXLV6W2b8/XepQbffiYzI/AAAAAAAAGcQ/HNdc6D6fxywN4yXXTd1FYsS-64zg3yqQACEwYBhgL/s1600/salome_244.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://1.bp.blogspot.com/-vxQXLV6W2b8/XepQbffiYzI/AAAAAAAAGcQ/HNdc6D6fxywN4yXXTd1FYsS-64zg3yqQACEwYBhgL/s640/salome_244.jpg" width="640" /></a></div><br /><br /><img src="http://feeds.feedburner.com/~r/Boulezian/~4/1KuLUsp3FZI" height="1" width="1" alt=""/> The mauve decadent https://parterre.com/2019/12/06/the-mauve-decadent/ parterre box urn:uuid:50460e72-358f-3cec-cf84-47f938260edf Fri, 06 Dec 2019 13:00:05 +0000 <p><a href="https://parterre.com/2019/12/06/the-mauve-decadent/"><img width="720" height="244" src="https://parterre.com/wp-content/uploads/2019/12/agnes-header-720x244.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/agnes-header-720x244.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/agnes-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/agnes-header-768x260.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/agnes-header-210x71.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/agnes-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Born on this day in 1900 actress <strong>Agnes Moorehead</strong>.</p> <p><a href="//www.youtube.com/watch?v=V_o6kqK14aY&#038;fmt=18">//www.youtube.com/watch?v=V_o6kqK14aY</a></p> <p>On this day in 1846 Berlioz’ <em>La damnation de Faust</em> premiered in Paris.</p> <p><a href="//www.youtube.com/watch?v=LqCV6kCTsvE&#038;fmt=18">//www.youtube.com/watch?v=LqCV6kCTsvE</a></p> <p>Born on this day in 1896 lyricist <strong>Ira Gershwin</strong>.</p> <p><a href="//www.youtube.com/watch?v=j0Pq9X29mEo&#038;fmt=18">//www.youtube.com/watch?v=j0Pq9X29mEo</a></p> Winterreise is Coming with Yannick Nézet-Séguin and Joyce DiDonato (Part Two) https://joycedidonato.com/2019/12/05/winterreise-is-coming-with-yannick-nezet-seguin-and-joyce-didonato-part-two/ Joyce DiDonato urn:uuid:78b39e53-f0e3-baeb-cb13-a28b0b8279df Fri, 06 Dec 2019 05:27:45 +0000 Winterreise is Coming with Yannick Nézet-Séguin and Joyce DiDonato (Part One) https://joycedidonato.com/2019/12/05/winterreise-is-coming-with-yannick-nezet-seguin-and-joyce-didonato-part-one/ Joyce DiDonato urn:uuid:7b22edfa-b501-f35a-4069-85c4af638024 Fri, 06 Dec 2019 05:24:09 +0000 O Mio Babbino Caro http://medicine-opera.com/2019/12/o-mio-babbino-caro/ Neil Kurtzman urn:uuid:2efb5f03-fb67-b172-b3de-e3a35382991a Fri, 06 Dec 2019 03:26:13 +0000 Puccini&#8217;s only comic opera, Gianni Schicchi, moves like a torrent. In its skill and vitality it&#8217;s up to the best of Rossini and is evocative of Verdi&#8217;s Falstaff. But no matter the pace, the master from Lucca could, and seemingly was compelled, to write a great tune for his leading lady. And unlike Tosca&#8217;s Vissi... <p>Puccini&#8217;s only comic opera, <em>Gianni Schicchi</em>, moves like a torrent. In its skill and vitality it&#8217;s up to the best of Rossini and is evocative of Verdi&#8217;s <em>Falstaff</em>. But no matter the pace, the master from Lucca could, and seemingly was compelled, to write a great tune for his leading lady. And unlike Tosca&#8217;s Vissi d&#8217;arte which halts the action, &#8216;O mio babbino caro&#8217; is the opera&#8217;s fulcrum. Despite its beauty it is integral to the plot.</p> <p>Schicchi&#8217;s daughter, Lauretta, begs him to perpetrate the swindle which will provide the money which will allow her to marry Rinuccio &#8211; necessarily a tenor. The melody is so beautiful that even Mephisto the spirit of no couldn&#8217;t resist. So Schicchi changes his mind, he had previously said to to the fraud, and the opera continues.</p> <p>Below are 9 interpretations of the aria. It&#8217;s basically a simple plea from a daughter to her father. And it should be simply rendered. Of course, it easily succumbs to diavaitis and is often subjected to lengthened phrases and held notes. I&#8217;ll start with two versions which are likely closest to what Puccini had in mind.  First Elisabeth Schwarzkopf &#8211; she&#8217;s best known for her Mozart and Strauss roles as well as her lieder singing. She only made occasional excursions to the Italian repertory. She also often had a rather unsteady vocal emission; but on this recording it&#8217;s not noticeable. <a href="https://www.dropbox.com/s/lwta22v9i8ira0i/o%20mio%20babbino%20caro%20-%20elisabeth%20schwarzkopf.mp3?dl=0" target="_blank" rel="noopener">Schwarzkopf O mio babbino caro</a></p> <p>Maria Callas&#8217;s performance is from 1965 when her voice was well into its decline. But this aria doesn not make great technical demands, rather it requires interpretative and emotive skill which Callas had in abundance. Of all the versions presented in this piece, hers may be the best. <a href="https://www.dropbox.com/s/45rh66265mqzx4b/maria%20callas%2C%20o%20mio%20babbino%20caro%20%28puccini%29%201965.mp3?dl=0" target="_blank" rel="noopener">Callas O mio babbino caro</a></p> <p>Renata Tebaldi&#8217;s career was coterminous with that of Callas, though she lasted a bit longer. Her recording of this piece is full steam ahead and is the fastest of the lot. To my ears it lacks nuance. <a href="https://www.dropbox.com/s/u9pn99vxd4bggow/renata-tebaldi-o-mio-babbino-caro.mp3?dl=0" target="_blank" rel="noopener">Tebaldi O mio babbino caro</a></p> <p>Montserrat Caballé was famous for her beautiful piamissimi and her wide range of roles, though it wasn&#8217;t wide enough for Lauretta &#8211; 0r perhaps it was too wide. If Tebald&#8217;s reading was a sprint, Caballé&#8217;s is a marathon. <a href="https://www.dropbox.com/s/yiztrbqohgal5bn/Montserrat%20Caball%C3%A9%20-%20O%20mio%20babbino%20caro%201990.mp3?dl=0" target="_blank" rel="noopener">Caballé O mio babbino caro</a></p> <p>Another slow motion interpretation is that of the New Zealand soprano Kiri Te Kanawa. Her voice is beautiful, but there&#8217;s a little too much indulgence here. <a href="https://www.dropbox.com/s/ej6fb3m9uorg49l/kiri%20te%20kanawa%20-%20o%20mio%20babbino%20caro%20-%20puccini.mp3?dl=0" target="_blank" rel="noopener">Te Kanawa O mio babbino caro</a></p> <p>Kathleen Battle had a high soprano voice that was perfect for many of the opera of Mozart, Rossini, and Donizetti. Her opera career came to an abrupt end when she was fired by the Met&#8217;s general manager Joseph Volpe for &#8220;unprofessional actions&#8221;; her career continued as a recital artist. As far a I know she never sang Lauretta onstage. This recording is from a recital. <a href="https://www.dropbox.com/s/rau3xd8dc33zg1g/kathleen%20battle%20o%20mio%20babbino%20caro%20from%20puccini%20gianni%20schicchi.mp3?dl=0" target="_blank" rel="noopener">Battle O mio babbino caro</a></p> <p>The Romanian singer Angela Gheorghiu is the personification of the tempestuous diva. She&#8217;s a Puccini specialist, though I don&#8217;t think she&#8217;s sung Lauretta onstage; it&#8217;s not that big a role. She has a rich and lustrous voice that is well fitted to the irresistible plea to Daddy. <a href="https://www.dropbox.com/s/28fs42gba46gppf/angela%20gheorghiu%20o%20mio%20babbino%20caro%20g%20schicchi%20puccini.mp3?dl=0" target="_blank" rel="noopener">Gheorghiu O mio babbino caro</a></p> <p>Anna Netrebko&#8217;s performance of this aria if from 2006 when she was still a lyric soprano. The big Verdi roles were still in her future &#8211; very well done, though on the slow side. <a href="https://www.dropbox.com/s/exjenp0c9xvs9bf/anna%20netrebko%20o%20mio%20babbino%20caro.%20%28live%29%202006.mp3?dl=0" target="_blank" rel="noopener">Netrebko O mio babbino caro</a></p> <p>Finally Renée Fleming &#8211; from a 2010 recital. This is another slow down, though the beauty of her voice seems to justify the rope-a-dope pace. <a href="https://www.dropbox.com/s/dbfsj341bdxmup6/puccini%20o%20mio%20babbino%20caro%20fleming%20marin%20berliner%20philharmoniker%202010.mp3?dl=0" target="_blank" rel="noopener">Fleming O mio babbino caro</a></p> <p>Nine is enough, though any soprano worth her ego wants to sing Puccini&#8217;s great melody. If you study hard enough you can learn to be proficient at almost anything related to music except how to write a great tune. A melodic gift like Puccini&#8217;s requires its bearer to be touched by God.</p> <p>&nbsp;</p> <p>O mio babbino e caro,<br /> mi piace, è bello, bello.<br /> Vo&#8217;andare in Porta Rossa<br /> a comperar l&#8217;anello!</p> <p>Sì, sì, ci voglio andare!<br /> e se l&#8217;amassi indarno,<br /> andrei sul Ponte Vecchio,<br /> ma per buttarmi in Arno!</p> <p>Mi struggo e mi tormento!<br /> O Dio, vorrei morir!<br /> Babbo, pietà, pietà!<br /> Babbo, pietà, pietà!</p> <p>Oh my dear papa,<br /> I love him, he is handsome, handsome.<br /> I want to go to Porta Rossa<br /> To buy the ring!</p> <p>Yes, yes, I want to go there!<br /> And if my love were in vain,<br /> I would go to the Ponte Vecchio<br /> And throw myself in the Arno!</p> <p>I am anguished and tormented!<br /> Oh God, I&#8217;d like to die!<br /> Papa, have pity, have pity!<br /> Papa, have pity, have pity!</p> Baton passed https://parterre.com/2019/12/05/baton-passed/ parterre box urn:uuid:5205a70f-e8f4-43d3-aebd-618444912538 Thu, 05 Dec 2019 22:22:32 +0000 <p><a href="https://parterre.com/2019/12/05/baton-passed/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/kim-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/kim-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/kim-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/kim-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/kim-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/kim-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p><strong>Eun Sun Kim</strong> has been appointed the Caroline H. Hume Music Director of San Francisco Opera, effective August 1, 2021. </p> <p><img src="https://parterre.com/wp-content/uploads/2019/12/kim-720-720x405.jpg" alt="" width="720" height="405" class="aligncenter size-large wp-image-65975" srcset="https://parterre.com/wp-content/uploads/2019/12/kim-720.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/kim-720-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/kim-720-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />The appointment was <a href="https://sfopera.com/about-us/new-music-director/">announced today</a> by SFO General Director <strong>Matthew Shilvock</strong> at the War Memorial Opera House.</p> <p>Photo: Nikolaj Lund</p> The Queen of Spades https://parterre.com/2019/12/05/the-queen-of-spades-2/ parterre box urn:uuid:f1803544-e220-925a-1737-840ede8781e2 Thu, 05 Dec 2019 21:28:05 +0000 <p><a href="https://parterre.com/2019/12/05/the-queen-of-spades-2/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/queen-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/queen-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/queen-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/queen-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/queen-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/queen-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>A second broadcast of the Met&#8217;s winter sleeper hit!</p> <p><img class="aligncenter size-large wp-image-65888" src="https://parterre.com/wp-content/uploads/2019/12/dama-3-720x405.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2019/12/dama-3.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/dama-3-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/dama-3-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" /><em>Queen of Spades</em> <a href="https://www.metopera.org/season/radio/free-live-audio-streams/" target="_blank" rel="noopener noreferrer">begins</a> at 7:25.</p> The Joffrey Ballet's "Nutcracker" Has a New Role for Dancers With Disabilities https://www.pointemagazine.com/nutcracker-dancers-with-disabilities-2641564268.html Pointe Magazine urn:uuid:26116dec-b52a-aefb-7305-b0830106969f Thu, 05 Dec 2019 18:47:30 +0000 <img src="https://assets.rbl.ms/22134173/origin.jpg"/><br/><br/><p>Marie and Franz have a new guest at their Christmas Eve party this year. Emma Lookatch and Larke Johnson, both dancers in the Adaptive Dance Program at Joffrey Academy of Dance: Official School of The Joffrey Ballet, are alternating in the new role of Worker Girl. It is a permanent part created specifically for students with disabilities in Christopher Wheeldon's version of <a href="http://joffrey.org/nutcracker" target="_blank"><em>The Nutcracker</em></a> at The Joffrey Ballet.</p><hr/><p> Wheeldon's production<em>,</em> which premiered in 2016, is set in Chicago in 1892 right before the first World's Fair. The part of Worker Girl is included in Act I, during the party scene. The character is part of the community of immigrant families living near the fairgrounds. </p><p>Lookatch and Johnson perform the part alongside Joffrey Ballet company members and 100 other students from the Joffrey Academy and other local studios that make up the children's cast. "It is lots of fun!" says Lookatch, who has cerebral palsy. "I like watching the other people dance."</p><h3>None</h3><br/><img class="rm-shortcode" data-rm-shortcode-id="5CO03L1576022715" data-rm-shortcode-name="rebelmouse-image" id="237f5" lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjEzNDE3OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU4MjQ3MTc1M30.z8lW5rqmkm4nHXjQncqMjickGbJJ_dn81r4Yiodffzw/img.jpg?width=980"/><h3>None</h3><br/><p>This new addition actually brings back a beloved Joffrey tradition. Robert Joffrey's version of <em>The Nutcracker</em> also used to include a role for a student with a disability. According to the <a href="https://www.chicagotribune.com/entertainment/theater/ct-ott-joffrey-nutcracker-1206-20191203-pzib3esmevfuva7fqdkudiktuu-story.html" target="_blank"><em>Chicago Tribune</em></a>, former artistic director Gerald Arpino added an accessible role for a Party Boy in 1997 when 8-year-old Stephen Hiatt-Leonard, who had cerebral palsy, auditioned for the children's cast.</p><h3>None</h3><br/><p>For Lookatch, 14, this opportunity is a dream come true. Inspired by watching her younger sister Samara dance, Lookatch began taking a special needs ballet class at age 7. She hasn't looked back since. </p><p>"My biggest dream is that I go on 'America's Got Talent' and do a ballet performance," she says.</p><p>The Joffrey Academy's <a href="https://www.youtube.com/watch?v=bn9ILv-lLkM&t=9s" target="_blank">Adaptive Dance Program</a> serves students with cerebral palsy, multiple sclerosis, down syndrome and other varying movement abilities. Lookatch and Johnson have been taking private ballet classes with Tricia Strong through the program for the past three years. </p><p>"To say that Trish is wonderful is an understatement," says Bryan Lookatch, Emma's dad, noting that it was Strong who catalyzed the creation of this role. "This experience has really helped build Emma's confidence. It's something she never thought possible a few years back, so it really keeps her motivated."</p> Grigolo gone https://parterre.com/2019/12/05/grigolo-gone/ parterre box urn:uuid:a4568dec-fa5f-8975-7492-95f9a6d02a42 Thu, 05 Dec 2019 15:56:43 +0000 <p><a href="https://parterre.com/2019/12/05/grigolo-gone/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/grigolo-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/grigolo-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/grigolo-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/grigolo-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/grigolo-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/grigolo-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Star tenor <B>Vittorio Grigolo</b> has been dismissed from the Met.</p> <p><img class="aligncenter size-full wp-image-38659" src="https://parterre.com/wp-content/uploads/2015/04/Grigolo.jpg" alt="" width="518" height="351" srcset="https://parterre.com/wp-content/uploads/2015/04/Grigolo.jpg 518w, https://parterre.com/wp-content/uploads/2015/04/Grigolo-250x169.jpg 250w" sizes="(max-width: 518px) 100vw, 518px" />He has also been canned by the Royal Opera in London, which found that he had engaged in “inappropriate and aggressive behavior&#8221; during a tour in Japan. [<a href="https://www.nytimes.com/2019/12/05/arts/music/vittorio-grigolo.html">New York Times</a>]</p> #TBT: Ekaterina Maximova as the Sugar Plum Fairy (1957) https://www.pointemagazine.com/tbt-ekaterina-maximova-sugar-plum-2641521042.html Pointe Magazine urn:uuid:29900d70-f461-8eea-ce87-431cdc2c9692 Thu, 05 Dec 2019 15:49:08 +0000 <img src="https://assets.rbl.ms/22133722/origin.jpg"/><br/><br/><p>For many a bunhead, "The Dance of the Sugar Plum Fairy" is not just a holiday tradition, but a rite of passage. The variation, with its tinkling celesta, bourrées and petit battus, is one that all ballet dancers are familiar with, and getting the opportunity to perform it often represents moving into new realms in your training or career. Such was the case for Soviet ballerina Ekaterina Maximova. In this 1957 clip, the 18-year-old aspirant performed the Sugar Plum variation at a ballet competition, where she represented the Bolshoi Ballet Academy.</p><hr/><h3>None</h3><br/><p>Adorned in taffeta and a shimmering bodice, Maximova is as effervescent as any ruler of a candy kingdom could hope to be. Her light footwork sparkles, while her upper body is lush and expressive. Even when the camera cuts off her lower body at 1:15, her charming épaulement captivates on its own. And she never misses an accent, despite the brisk tempo. The year after this competition, Maximova joined the Bolshoi, quickly becoming one of the company's leading performers and a darling of the ballet world. Happy #ThrowbackThursday!</p><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="ZRA7UN1575565516" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/qOpXZCCWJHE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span> Body and soul https://parterre.com/2019/12/05/body-and-soul/ parterre box urn:uuid:cc233c21-28a5-f12d-e193-22715ec88953 Thu, 05 Dec 2019 15:00:48 +0000 <p><a href="https://parterre.com/2019/12/05/body-and-soul/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2019/12/sutherland-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2019/12/sutherland-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/sutherland-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/sutherland-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2019/12/sutherland-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2019/12/sutherland-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Trove Thursday offers Haydn’s <em>L’Anima del filosofo ossia Orfeo ed Euridice </em>with <strong>Joan Sutherland,</strong> <strong>Nicolai Gedda</strong> and <strong>Spiro Malas</strong>.</p> <p><img class="aligncenter size-large wp-image-65953" src="https://parterre.com/wp-content/uploads/2019/12/sutherland-720-720x405.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2019/12/sutherland-720.jpg 720w, https://parterre.com/wp-content/uploads/2019/12/sutherland-720-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2019/12/sutherland-720-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />As this has been an <a href="https://parterre.com/2019/10/21/drag-me-to-hell/">Orpheus autumn</a> and the mythical bard <a href="https://parterre.com/2019/11/29/sweet-1600s/">just won’t let go</a>, Trove Thursday offers another operatic portrait, Haydn’s <em>L’Anima del filosofo ossia Orfeo ed Euridice </em>with <strong>Joan Sutherland,</strong> <strong>Nicolai Gedda</strong> and <strong>Spiro Malas</strong> (who passed away in June) plus two special Sutherland-Haydn rarities.</p> <p>Some may be familiar with this opera and cast from performances they gave in Edinburgh or Vienna but today’s “pirate” is an unusual NYC Carnegie Hall concert of one of the few works Sutherland and Bonynge never recorded for Decca. My guess is that everyone involved believed Gedda was essential and as he was than an EMI artist no recording was planned.</p> <p>In the mid-1990s Decca finally capitulated to <a href="https://amzn.to/2Yf6gI2">another diva’s wish to record this work</a> when <strong>Cecilia Bartoli</strong> claimed it and copied Sutherland’s scheme of performing both Euridice and Genio (who gets the dazzling showpiece aria).</p> <p>The early BBC Haydn selections are fascinating particularly the solo concert aria, a work I’d never run across before. Listening to her effortless “Se ti perdo,” it’s difficult to imagine that Sutherland wasn’t already a star in 1956.</p> <p>I must also include another Sutherland morsel from earlier in the 18th century. When I was a kid, one of my favorite records was “A Festival of Baroque Opera,” a 2-LP set by Sutherland and Bonynge of highlights from Bononcini’s <em>La Griselda </em>and Graun’s <em>Montezuma. </em>For a concert from around the time those excerpts were recorded, Sutherland performed Eupaforice’s deliriously florid aria from the 1755 Graun opera. It’s a crazy delight with an entirely inauthentic yet amazing cadenza.</p> <p>Orpheus fever continues: tomorrow in just one theater in both New York and Los Angeles, Céline Sciamma’s hypnotic gay romance <em>Portrait of a Lady on Fire </em>opens for a one-week run. In it, her use of the Orpheus story proves quietly devastating.</p> <p><a href="//www.youtube.com/watch?v=xUF1tjxV2P0&#038;fmt=18">//www.youtube.com/watch?v=xUF1tjxV2P0</a></p> <p>I don’t know yet about how Orpheus’s bride might (or might not) figure in, but <strong>Karim Aïnouz</strong><strong>’s</strong> latest film <em>A vida invisível de Eurídice Gusmão</em> plays next week at both <a href="https://www.filmlinc.org/films/invisible-life/">Film at Lincoln Center</a> and the <a href="https://www.moma.org/calendar/events/6064">Museum of Modern Art</a>.</p> <p>If neither of these is available, there are always the film masterpieces Marcel Camus’s <em>Orfeu Negro</em></p> <p><a href="//www.youtube.com/watch?v=kF8Ae09bWJk&#038;fmt=18">//www.youtube.com/watch?v=kF8Ae09bWJk</a></p> <p>and Jean Cocteau’s <em>Orphée </em>(his two other Orpheus films I’m less crazy about).</p> <p><a href="//www.youtube.com/watch?v=9ciOWebRF3Y&#038;fmt=18">//www.youtube.com/watch?v=9ciOWebRF3Y</a></p> <p><strong>Haydn: <em>L’anima del Filosofo ossia Orfeo ed Euridice</em></strong><br /> American Opera Society<br /> Carnegie Hall<br /> February 7, 1968<br /> In-house recording</p> <p>Euridice &amp; Genio &#8212; Joan Sutherland<br /> Orfeo &#8212; Nicolai Gedda<br /> Creonte &#8212; Spiro Malas</p> <p>Conductor – Richard Bonynge</p> <p><iframe style="border: none;" src="//html5-player.libsyn.com/embed/episode/id/12286787/height/90/theme/custom/thumbnail/yes/direction/backward/render-playlist/no/custom-color/87A93A/" width="100%" height="90" scrolling="no" allowfullscreen="allowfullscreen"></iframe></p> <p><strong>Haydn: <em>Pieto di me, Benigni Dei</em></strong><br /> BBC<br /> 17 December 1956<br /> Broadcast</p> <p>Joan Sutherland<br /> April Cantelo<br /> Raymond Nilsson</p> <p>Goldsborough Orchestra<br /> Conductor – Charles Mackerras</p> <p><strong>Haydn: <em>Se ti perdo</em></strong><br /> BBC<br /> 17 December 1956<br /> Broadcast</p> <p>Joan Sutherland</p> <p><iframe style="border: none;" src="//html5-player.libsyn.com/embed/episode/id/12286814/height/90/theme/custom/thumbnail/yes/direction/backward/render-playlist/no/custom-color/87A93A/" width="100%" height="90" scrolling="no" allowfullscreen="allowfullscreen"></iframe></p> <p><strong>Graun: <em>Montezuma</em> – “Non han calma”</strong><br /> Atlanta<br /> 20 October 1966<br /> In-house recording</p> <p>Joan Sutherland<br /> Atlanta Symphony<br /> Conductor – Richard Bonynge</p> <p><iframe style="border: none;" src="//html5-player.libsyn.com/embed/episode/id/12286835/height/90/theme/custom/thumbnail/yes/direction/backward/render-playlist/no/custom-color/87A93A/" width="100%" height="90" scrolling="no" allowfullscreen="allowfullscreen"></iframe></p> <p><em>Anima del filosofo </em>and the Haydn and Graun selections can be downloaded by clicking on the icon of a square with an arrow pointing downward on the audio player above and the resulting mp3 files will appear in your download directory.</p> <p>Gluck’s <em>Orfeo ed Euridice/Orphée et Eurydice </em>posted in September can be found <a href="https://parterre.com/2019/09/26/pretty-little-lyre/">here</a>.</p> <p>In addition, nearly 300 other podcast tracks are always available from <a href="https://itunes.apple.com/us/podcast/trove-thursday/id1039652739">iTunes</a> for free, or via any <a href="http://parterre.com/podcast/trovethursday.rss">RSS</a> reader.</p> <p>The archive listing all “Trove Thursday” offerings in alphabetical order by composer was recently <a href="https://parterre.com/the-trove-thursday-archive/">updated</a> to include all material as of mid-November 2019.</p>