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/ “I never will have peace of mind” https://parterre.com/2021/04/14/i-never-will-have-peace-of-mind/ parterre box urn:uuid:dad20aa4-c7b6-6704-c141-2822ce81d208 Wed, 14 Apr 2021 12:00:19 +0000 <p><a href="https://parterre.com/2021/04/14/i-never-will-have-peace-of-mind/"><img width="720" height="246" src="https://parterre.com/wp-content/uploads/2021/04/julie-christie-header-720x246.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/julie-christie-header-720x246.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/julie-christie-header-300x103.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/julie-christie-header-768x263.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/julie-christie-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/julie-christie-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Happy 81st birthday actress <strong>Julie Christie</strong>.</p> <p><a href="//www.youtube.com/watch?v=RAe18Lya6n4&#038;fmt=18">//www.youtube.com/watch?v=RAe18Lya6n4</a></p> <p>Happy 65th birthday soprano <strong>Barbara Bonney</strong>.</p> <p><a href="//www.youtube.com/watch?v=TrYbkrphcos&#038;fmt=18">//www.youtube.com/watch?v=TrYbkrphcos</a></p> <p>Happy 63rd birthday soprano <strong>Aprile Millo</strong>.</p> <p><a href="//www.youtube.com/watch?v=yQ-DUL4d6NM&#038;fmt=18">//www.youtube.com/watch?v=yQ-DUL4d6NM</a></p> <p>On this day in 1883 Leo Delibes&#8217; <em>Lakmé</em> premiered in Paris.</p> <p><a href="//www.youtube.com/watch?v=jgIFZ2YBjMs&#038;fmt=18">//www.youtube.com/watch?v=jgIFZ2YBjMs</a></p> Iolanta / Bluebeard’s Castle https://parterre.com/2021/04/13/iolanta-bluebeards-castle-2/ parterre box urn:uuid:5da6f4d4-b65c-7162-12ab-7032c0126f71 Tue, 13 Apr 2021 21:32:35 +0000 <p><a href="https://parterre.com/2021/04/13/iolanta-bluebeards-castle-2/"><img width="720" height="246" src="https://parterre.com/wp-content/uploads/2020/06/iolanta-header-720x246.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2020/06/iolanta-header-720x246.jpg 720w, https://parterre.com/wp-content/uploads/2020/06/iolanta-header-300x103.jpg 300w, https://parterre.com/wp-content/uploads/2020/06/iolanta-header-768x263.jpg 768w, https://parterre.com/wp-content/uploads/2020/06/iolanta-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2020/06/iolanta-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Anna Netrebko and Piotr Beczala in <em>Iolanta</em>, and Nadja Michael and Mikhail Petrenko in Bluebeard’s Castle, conducted by Valery Gergiev. Production by Mariusz Trelinski. From February 14, 2015.</p> <p><img src="https://parterre.com/wp-content/uploads/2020/06/iolanta-720.jpg" alt="" width="720" height="405" class="aligncenter size-full wp-image-69979" srcset="https://parterre.com/wp-content/uploads/2020/06/iolanta-720.jpg 720w, https://parterre.com/wp-content/uploads/2020/06/iolanta-720-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2020/06/iolanta-720-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" rel="noopener" target="_blank">begin at 7:30 PM</a>.</p> <p>Photo: Marty Sohl/Metropolitan Opera</p> I’m a diva, hey https://parterre.com/2021/04/13/im-a-diva-hey/ parterre box urn:uuid:242a9332-ae96-bae8-eb57-f0bcb115dff4 Tue, 13 Apr 2021 12:00:39 +0000 <p><a href="https://parterre.com/2021/04/13/im-a-diva-hey/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/m-price-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/m-price-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/m-price-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/m-price-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/m-price-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/m-price-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Happy Diva Day 2!</p> <p><img class="aligncenter size-full wp-image-76239" src="https://parterre.com/wp-content/uploads/2021/04/m-price-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2021/04/m-price-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/m-price-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/m-price-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Born on this day in 1931 soprano <strong>Anita Cerquetti</strong>.</p> <p><a href="//www.youtube.com/watch?v=XaGucMLg8Ro&#038;fmt=18">//www.youtube.com/watch?v=XaGucMLg8Ro</a></p> <p>Born on this day in 1941 soprano <strong>Margaret Price</strong>.</p> <p><a href="//www.youtube.com/watch?v=WBlxJHDtd3Q&#038;fmt=18">//www.youtube.com/watch?v=WBlxJHDtd3Q</a></p> Cendrillon https://parterre.com/2021/04/12/cendrillon-6/ parterre box urn:uuid:54038b84-fe14-bd72-84f1-65e41548a035 Mon, 12 Apr 2021 22:30:10 +0000 <p><a href="https://parterre.com/2021/04/12/cendrillon-6/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2020/05/cendrillon-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2020/05/cendrillon-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2020/05/cendrillon-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2020/05/cendrillon-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2020/05/cendrillon-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2020/05/cendrillon-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Kathleen Kim, Joyce DiDonato, Alice Coote, Stephanie Blythe, and Laurent Naouri, conducted by Bertrand de Billy. Production by Laurent Pelly. From April 28, 2018.</p> <p><img src="https://parterre.com/wp-content/uploads/2020/05/cendrillon-720.jpg" alt="" width="720" height="405" class="aligncenter size-full wp-image-69587" srcset="https://parterre.com/wp-content/uploads/2020/05/cendrillon-720.jpg 720w, https://parterre.com/wp-content/uploads/2020/05/cendrillon-720-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2020/05/cendrillon-720-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" rel="noopener" target="_blank">begin at 7:30 PM</a>.</p> <p>Photo: Ken Howard / Met Opera</p> Shostakovich - The Nose (YouTube) http://npw-opera-concerts.blogspot.com/2021/04/shostakovich-nose.html We left at the interval... urn:uuid:48ca74de-a7ec-3c20-e19b-4dbe41e2c178 Mon, 12 Apr 2021 21:47:00 +0000 <p>I was recently bemused to see Shostakovich's <i>The Nose</i> described as 'rather tedious' in a blog post initially recommending a production of <i>Cavalleria Rusticana</i>, one of the most tedious operas I can think of, as 'interesting'. As I haven't seen the Shostakovich for ages (unlike <i>Cav</i>, I'm sorry to say), I decided to run a search on <i>YT</i> and was delighted to find Barrie Kosky's Covent Garden production available there in full.</p><p>Here it is (the opera starts 9 minutes 30 in).</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zOrjvU9bnms" width="320" youtube-src-id="zOrjvU9bnms"></iframe></div><br /><p><br /></p> Infrequent flyers in unfamiliar skies https://parterre.com/2021/04/12/infrequent-flyers-in-unfamiliar-skies/ parterre box urn:uuid:542878b4-e404-ee90-df00-a41ab7101a81 Mon, 12 Apr 2021 19:46:27 +0000 <p><a href="https://parterre.com/2021/04/12/infrequent-flyers-in-unfamiliar-skies/"><img width="720" height="246" src="https://parterre.com/wp-content/uploads/2021/04/revised-flight-header-720x246.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/revised-flight-header-720x246.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/revised-flight-header-300x103.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/revised-flight-header-768x263.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/revised-flight-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/revised-flight-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p><strong>Jonathan Dove</strong>’s <em>Flight</em>, which premiered at Glyndebourne in 1998 and is now being streamed by the Seattle Opera, is structured like one of those baroque extravaganzas where some half dozen characters find themselves (in every sense) on a magical island, its properties little understood.</p> <p><img class="aligncenter size-full wp-image-76232" src="https://parterre.com/wp-content/uploads/2021/04/flight-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2021/04/flight-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/flight-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/flight-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Their romantic confusions create the action while the music explores their inner torments, or something like that.</p> <p>The enchanted island in <em>Flight </em>is an airport (actually the Museum of Flight beside Boeing Field in Seattle), and the characters are miscellaneous travelers and some airline staff, trapped (by a storm of course—even Shakespeare got that right) in this region between the worlds, forced to cope and interact and fantasize. Do they want to get home—or is home the place they are trying to escape? Airports are a place between worlds, not destinations themselves. Not residences. Unless&#8230;</p> <p>One of the characters is a wild card indeed—a Refugee who has reached the airport (hiding in a wheel) from his oppressive homeland but, without papers or money, does not know what to do next. He possesses magical stones, his only advantage—perhaps they will help other travelers who will, in turn, help him. Or will the phony stones arouse their rage? Will they go mad, like opera’s Orlando?</p> <p>The story derives from the case of an Iranian refugee who hid out in Charles de Gaulle Airport for 18 years. This sounds unlikely, except that nowadays, with refugee camps all around the Mediterranean, it’s typical, and on the opera stage is echoed by Menotti’s <em>The Consul, </em>Argento’s <em>Postcards from Morocco</em> and Henze’s <em>Raft of the Medusa.</em></p> <p>Dove has capitalized on the Refugee’s position outside the accepted roles of this story, by making him a countertenor, vocally someplace between male and female. In Seattle, the role is taken by burly, bearded <strong>Randall Scotting</strong>, familiar to New Yorkers for his Handel, Bostonians for his Gluck, whose creamy, muscular alto soars suavely high when he remembers the agonizing cold of his journey.</p> <p><a href="//www.youtube.com/watch?v=O35L90nbSVI&#038;fmt=18">//www.youtube.com/watch?v=O35L90nbSVI</a></p> <p>In 1998, the countertenor had not been part of the usual complement of singers for twentieth century opera, though Britten created Oberon and <strong>Philip Glass </strong><em>Akhnaton</em>, using the countertenor range to express a lofty otherworldliness. Today, countertenors are more and more part of new operatic work, and <em>Flight</em>’s Refugee, the only character who is not gainfully employed, well-fed, rightly grounded on the premises, highlights the oddity, the eccentricity of this magical locale.</p> <p>The stories otherwise are insubstantial and unrealistic. A businessman in a hurry whose very pregnant wife suddenly refuses to fly. A randy flight steward and a prim but not reluctant stewardess who fool around between chores. A married pair hoping to rekindle on an exotic vacation. A middle-aged woman hoping to meet a younger man she has been corresponding with—today, of course, she would not be allowed to wait in the lounge.</p> <p>All the characters are self-involved, disinclined to help the scruffy refugee, tossing casual remarks from their solitudes. The lonely woman—<strong>Margaret Gawrysiak—</strong>for instance, pretends only to understand French in order to avoid questions. But she doesn’t actually know any French.</p> <p>All their hopes are upended when a storm, grounding all flights until morning, is decreed by the Flight Controller—<strong>Sharleen Joynt</strong>, who has a lofty sound indeed, chilly for formalities but full of private, celestial ecstasies, a luscious voice, with far more body than the average high soprano.</p> <p>The satirical plot doesn’t take itself too seriously. Had it premiered after 9/11, the misadventures of stranded plane passengers might have seemed in poor taste (although they got a Broadway musical out of that, didn’t they?), but happily Dove and his librettist, <strong>April De Angelis</strong>, dodged that bullet. Their fable recalls a more innocent time—but not one lacking in shadows. The characters reach out for emotional connections, and are often disappointed.</p> <p>The score is a lively, attractive, expertly devised, tonal without being old-fashioned, relevant without forfeiting wit, human without too much sentimentality. (Of course the pregnant abandoned traveler will give birth in the departure lounge. You knew that the moment she came in.) The melodies are not, on first acquaintance, individual or irresistible but they move and agitate with the story. The orchestration is self-consciously brilliant, full of intriguing percussive effects, in a style that reminds me of Britten, and the vocal lines delight (as too few modern operas delight) in the voice and its sensuous and dramatic possibilities.</p> <p>This includes—I am happy to say—several <em>concertati.</em> Many modern composers seem to forget that the great dramatic advantage of opera is that different words and different emotions can be expressed simultaneously in an opera with no loss of sense. <strong>Brian Staufenbiel</strong> (stage director) and <strong>Kyle Seago</strong> (video director) have likewise taken their cues: a septet of worried pre-flight characters presents itself in seven singing gadgets on a plane’s dashboard.</p> <p>On stage, no doubt, they would stand and sing in a row—boring! The Flight Controller imagines herself soaring into the heavens or rolling on the grass. There is a merry quartet for two gentlemen and their ladies, the morning after the stormy night, when the ladies wonder how the gentlemen happen to have exchanged trousers in the dark. (Ah! That’s the <em>Figaro</em> <em>esprit!</em>)</p> <p>The remaining singers, all unfamiliar to me, all young, personable, and possessing clear, easily produced voices that blend tidily in the <em>concertati, </em>are <strong>Karen Vuong</strong> (Tina), <strong>Sarah Larsen</strong> (Stewardess), <strong>Karin Mushegain</strong> (the pregnant Minskwoman), <strong>Joshua Kohl</strong> (Bill), <strong>Joseph Lattanzi</strong> (Steward), <strong>Aubrey Allicock</strong> (Minskman) and <strong>Damien Geter</strong> as the saturnine Immigration Officer, who has a heart of gold and declines a bribe. A more innocent age, that.</p> <p>The Seattle Opera Orchestra—or part of it anyway—has been elegantly conducted by <strong>Viswa Subbaraman.</strong></p> <p><em>Flight </em>has been streaming for Seattle Opera subscribers since April 3 and will continue through midnight on the 25<sup>th</sup>. It will be available as pay per view from 7:00 PM on April 23 at seattleopera.org.</p> Ballet West Promotes Katlyn Addison and Hadriel Diniz to Principal; 8 Others Say Farewell https://www.pointemagazine.com/katlyn-addison-hadriel-diniz-2652504798.html Pointe Magazine urn:uuid:7a2ee6a8-be87-f77d-f497-71bfc05901a4 Mon, 12 Apr 2021 19:00:42 +0000 <img src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjA0MjYyNi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyOTg1NjI5N30.4ufbkh32O3aEhmHwgD5qIo0I9gYTqo2reXG9Tyw28kE/img.jpg?width=1245&coordinates=0%2C142%2C0%2C982&height=700"/><br/><br/><p>Last week, Ballet West announced that first soloists <a href="https://www.pointemagazine.com/search/?q=katlyn+addison" target="_blank">Katlyn Addison</a> and Hadriel Diniz have been promoted to principal artist. The news marks a historic moment for the company.</p><hr/><h3></h3><br/><p>Addison, who is Canadian, will be the first Black principal dancer in Ballet West's 58-year history. She joined BW in 2011 and has been steadily climbing the ranks since. In addition to a growing list of featured roles, she has also pursued choreography, creating several works for both Ballet West and University of Utah's dance department. In 2019, Addison participated in an artist exchange with Scottish Ballet, dancing the title role in that company's production of <em>The Snow Queen</em>. "She has dedicated her whole life to this art form, and methodically worked hard to get to this point, and she deserves this promotion," artistic director Adam Sklute has said in a statement on Ballet West's website. "I know she will continue to soar."<br/></p><h3></h3><br><img alt="Wearing only brown trunks, Hadriel Diniz slumps against a pillar in agony, bathed in a bright spotlight." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="0c684e4e7b75edf89551a6f2b906ff76" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjA0MjYyOS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzODY5Mjk1Mn0.v-xvG2r1w0xGYm3Vqlp8lWeRdqWza3JeswHIvexOiZo/img.jpg?width=980" height="4164" id="90d3f" lazy-loadable="true" width="6246"/><p>Diniz, who will be the company's first Brazilian principal, joined BW in 2015 after finishing his training on full scholarship at the San Francisco Ballet School. He's risen quickly through the ranks since, most recently performing the leading role in George Balanchine's <em>Prodigal Son</em>. Sklute praised Diniz's bravura technique. "He is also a consummate partner," Sklute continued, adding that he and Addison are "clear leaders."<br/></p><h3></h3><br><img alt="Arolyn Williams wears a long white Romantic tutu and pointe shoes and does a pench\u00e9 on her right leg with her arms crossed in front of her chest. Behind her onstage is a wooded forest set." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="ba7f95d70601479e9ab3e7c8aaddf816" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjA0MjY0NC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMTA0MTUxNX0.FzNSyEit0IOglOv8DH4VzdIjMZqeWrUzHEvQvGAZYBI/img.jpg?width=980" height="2436" id="15665" lazy-loadable="true" width="2043"/><p>The company also announced that several dancers would be retiring, including <a href="https://www.pointemagazine.com/unwanted-nutcracker-roles-2641432457.html?rebelltitem=1#rebelltitem1" target="_self">Katherine Lawrence</a> and Arolyn Williams, two of its longtime ballerinas. Both dancers joined Ballet West in 2004 and have danced as principals since 2011 and 2013, respectively. Lawrence will give her <a href="https://balletwest.org/events/precious-gems" target="_blank">farewell performance</a> in Balanchine's "Emeralds" on Saturday, April 17. Williams, who gave her final performance in <em>Onegin</em> in 2019, has recently had a baby. First soloist Alexander MacFarlan; soloists Katie Critchlow and <a href="https://www.pointemagazine.com/emily-neale-ballet-west-2638530270.html" target="_self">Emily Neale</a> (<em>Pointe</em>'s Summer 2020 cover star); demi-soloist Lindsay Bond; and corps members <a href="https://www.pointemagazine.com/ballerina-baker-2645584124.html" target="_self">Jordan Richardson</a> and Lucas Horns will also retire at the end of the season.<br/></p><p>In other roster news, three former BW dancers are returning: Amy Potter, who joins as a soloist, and Kazlyn Nielsen and Anisa Sinteral, who will join the corps de ballet. Ballet West II dancers Jazz Khai Bynum, Isabella Martinez Corridon, Robert Fowler, Connor Hammond and Claire Wilson have been promoted to the main company. Congratulations and best wishes to all!</p></br></br> Dancers Share Their Key Takeaways After a Year of Dancing on Film https://www.pointemagazine.com/dancing-for-film-coronavirus-2652505458.html Pointe Magazine urn:uuid:331ca1e1-f514-a663-5573-0a0f2a60dc24 Mon, 12 Apr 2021 18:41:19 +0000 <img src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjA0Mjc5Mi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY3OTc5NTg0M30.gzm9EzkAQtWng75WNljOzWva_beQ_5jRr7toxn5STTA/img.jpg?width=1245&coordinates=0%2C403%2C0%2C353&height=700"/><br/><br/><p>Creating dances specifically for film has become one of the most effective ways that ballet companies have connected with audiences and kept dancers employed during the pandemic. Around the world, dance organizations are finding opportunities through digital seasons, whether conceiving cinematic, site-specific pieces or filming works within a traditional theater. And while there is a consistent sentiment that nothing will ever substitute the thrill of a live show, dancers are embracing this new way of performing.</p><hr/><p>Still, it's been an adjustment. How are dancers developing performance energy? How can artistry best be communicated through the camera? What is the best angle to present technique? Dance Theatre of Harlem's Derek Brockington explains that dancing for film is "about acknowledging that it's not going to be the same experience—it's a different way of dancing." Below,<em> </em>Brockington and several other dancers share their takeaways after a year of dancing on camera.</p><h3>Adapting to New Spaces and Timelines</h3><br/><p>Rehearsing in the back of a crowded studio used to seem like a challenge, but since the pandemic began last year Zoom rehearsals became the norm, and gave new perspective to exploring movement in small spaces. Dancing an entirely digital season this year, Jessy Dick, a company apprentice at The Washington Ballet, explains that learning contemporary movement via Zoom last fall was confusing to translate into the body. "It is hard to feel the movement," says Dick. "I never realized how expansive moving in the studio can feel. The walls mess with your head."</p><p>Dick had to adapt and develop mind flexibility, which she says later carried over when the company began dancing in site-specific locations and adjusting to the quick pace of a filming day. When shooting <em><a href="https://www.washingtonballet.org/events/create-in-place-winter-2021/" target="_blank">Something Human</a></em>, by TWB artist Andile Ndlovu, last October, considerations such as natural lighting and weather shaped a single day of filming at Maryland's Patapsco Female Institute. There was little time for dancers to acquaint themselves with the space, adapt and, as Dick says, "just go for it." Yet she adds that the challenge of performing outdoors on unfamiliar surfaces and in tennis shoes or bare feet was balanced by the inspiration of dancing with the wind and sunshine. "The location fueled us to be able to turn it on and off quick," she says, especially when doing multiple takes throughout the day.</p><h3></h3><br/><img alt="Jessy Dick, wearing a light blue turtleneck, pants and socks, kicks her left leg high and holds the side of her head with her right hand. Her right elbow is bent in towards her leg and she dances outdoors on a marley floor and in front of a white wall.." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="2fff9470560e37f929e4454417a70ab8" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjA0MjgwMy9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY2NjQyNzEyMn0.kaVTPLY-ppHPbwjHTJPYV2VWY7ZU-EBVllK-svDCRJw/img.jpg?width=980" height="853" id="91151" lazy-loadable="true" width="1225"/><h3></h3><br/><p>Even when filming in the familiar confines of a theater, the recording experience can be intense. San Francisco Ballet principal Aaron Robison describes recording George Balanchine's <a href="https://www.sfballet.org/productions/digital-program-04/" target="_blank">Jewels </a>at the War Memorial Opera House in January as "one run-through, notes and then a quick touch-up, and we did it again." While rehearsing his role in "Emeralds" was relatively typical (save Balanchine répétiteur Sandra Jennings coaching via Zoom instead of in the studio), the recording day included two back-to-back run-throughs. When asked how he rallies performance-level energy multiple times in a row, Robison explains that knowing that a performance run is complete in one single day of filming gives him the fortitude to push to his max.</p><h3>Turning On Performance Mode—Without the Audience</h3><br/><p>The energy between dancers and audience members during a live performance is hard to replicate digitally. Since films are often shot from different angles, dancers have had to explore how to project through different parts of the body and with specificity, depending on the shot. "It involves more thinking than you normally have to do," says Brockington. He says he has to have keen awareness of where the camera is, while also trying to project beyond it and considering the different angles it is potentially capturing.</p><p>While Robison's filming process of <em>Jewels</em> was a straight run-through from one angle, he was still performing to an empty theater. Yet he says he drew energy from "the fact that we haven't been able to perform for all this time, and I felt fortunate in that moment being back on the stage."</p><h3></h3><br/><img alt="Wearing a long, green Romantic tutu, Sasha Mukamedov does a high crois\u00e9 arabesque with her arms moving out towards her sides. Aaron Robison, wearing a dark green velvet tunic and white tights, lunges right and holds onto her waist with his right hand, with his left arm out to the side." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="44aeeb54a50356156ced7212f2f0ebee" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjA0MjgxMC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1MzUzMjAzOX0.k9YzRQ44AODH0-Kn_TVbV-196KgNxnrU-M1pj6Nq6cE/img.jpg?width=980" height="2370" id="1b6ba" lazy-loadable="true" width="3552"/><h3></h3><br/><p>Regardless of the circumstances, being committed to the moment is imperative for a filmed performance to be effective. Not only do viewers need to feel it, dancers want to do justice to the choreography in a way that stands the test of time. "That's the thing with a film," says Robison. "It stays."</p><h3>Reaching a Global Audience</h3><br/><p>One of the major advantages to online performances is that anyone can watch from anywhere in the world. On a personal level, dancers from international backgrounds can share their dancing with family, friends and teachers who supported their training. From a more global perspective, virtual performances allow dancers and companies to share their missions on a broader platform.</p><p>When DTH initially created <em>Dancing Through Harlem</em>, a virtual submission for Harlem Week last August, it went viral with over 7.6 million views. Brockington and his roommate, fellow DTH dancer Alexandra Hutchinson, conceived, produced and edited the film—with choreography based on Robert Garland's <em>New Bach</em> and set throughout beautiful spaces in Harlem—over seven days in August using an iPad. Not expecting to reach such a large audience, Brockington says that the video's popularity is why representation matters. "I grew up not seeing many ballet dancers who looked like me." Brockington says he was honored to share his dancing and the stunning architecture of Harlem with the world while representing DTH's mission of inclusivity and accessibility.<strong></strong></p><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="f5c14787c8e29152bde3e7e4fd4324b1" 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/H1Ybm6ToJBI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h3></h3><br/><p>Another audience added to the pool of viewers is the dancers themselves. Waiting for a film to debut can produce greater anticipation than pre-performance jitters, especially when you're<strong> </strong>not sure what the final product will look like. Robison explains that while he knows which takes he felt particularly good about, the chosen cut will be what best represents the entire cast—and that isn't revealed until the film is released.</p><p>For dancers, being able to watch the work they were a part of is a reward that is entirely new. "There's nothing that compares to the feeling of performing onstage," says Dick. "But it was beautiful to watch my colleagues blossom in front of the camera."</p><p class=""><br/></p> Thrombotic Thrombocytopenia Associated With the AstraZeneca Vaccine https://medicine-opera.com/2021/04/thrombotic-thrombocytopenia-associated-with-the-astrazeneca-vaccine/ Neil Kurtzman urn:uuid:f8e17556-7d85-616e-4e6b-e2cb120677c7 Mon, 12 Apr 2021 15:46:18 +0000 The COVID-19 vaccine developed by AstraZeneca (AZ) has been widely used in Europe, but not in the US. Its technical nomenclature is a recombinant adenoviral vector encoding the spike protein antigen of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) (ChAdOx1 nCov-19. Not long after the introduction of this vaccine cases of clots associated with low... <p>The COVID-19 vaccine developed by AstraZeneca (AZ) has been widely used in Europe, but not in the US. Its technical nomenclature is<em> a recombinant adenoviral vector encoding the spike protein antigen of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) (ChAdOx1 nCov-19</em>. Not long after the introduction of this vaccine cases of clots associated with low platelet counts began to be sporadically reported. As this disorder was of low magnitude it was at first tempting to write it off as an anomaly. </p> <p>But two reports in the <em>New England Journal of Medicine</em> indicate that this combination of thrombocytopenia and clots is a true, albeit rare, complication of the AZ vaccine. To read these two reports go <a rel="noreferrer noopener" href="https://www.nejm.org/doi/full/10.1056/NEJMoa2104840?query=featured_home" target="_blank">here</a> and <a rel="noreferrer noopener" href="https://www.nejm.org/doi/full/10.1056/NEJMoa2104882?query=featured_home" target="_blank">here</a>. Both groups of investigators uncovered the same mechanism for this vaccine-induced disorder. </p> <p>The Norwegian group reported that &#8220;[a]s of March 20, 2021, when administration of the vaccine was paused, a total of 132,686 persons in Norway had received the first dose of the ChAdOx1 nCoV-19 vaccine and none had received the second dose. Within 10 days after receiving a first immunization with ChAdOx1 nCoV-19, five health care workers 32 to 54 years of age presented with thrombosis in unusual sites and severe thrombocytopenia. Four of the patients had major cerebral hemorrhage.&#8221; </p> <p>Another cohort of 11 patients with the same characteristics from Germany and Austria were studied. &#8220;Nine were women, with a median age of 36 years (range, 22 to 49). Beginning 5 to 16 days after vaccination, the patients presented with one or more thrombotic events, with the exception of 1 patient, who presented with fatal intracranial hemorrhage. Of the patients with one or more thrombotic events, 9 had cerebral venous thrombosis, 3 had splanchnic-vein thrombosis, 3 had pulmonary embolism, and 4 had other thromboses; of these patients, 6 died.&#8221;&nbsp;</p> <p>All the patients had high levels of antibodies to platelet factor 4–polyanion complexes. Heparin is well known to cause thrombotic thrombocytopenia by causing antibodies to PF-4 polyanion complexes in susceptible subjects, but these patients were not treated with heparin. Thus, a new syndrome has been added to the woes of mankind &#8211; vaccine-induced immune thrombotic thrombocytopenia (VITT). So far, this disorder is unique to the AZ vaccine. </p> <p>How common is VITT? Not very. Over 20 million people have received the AZ shot. So the odds of getting this syndrome are on the order of one in a million, but if you&#8217;re that one it&#8217;s a big deal. Heparin is still widely used despite this unwanted side effect. If you&#8217;re a public health official looking at the big picture you&#8217;d likely advise to continue administering the vaccine. If you&#8217;re a patient who has a choice of which vaccine to take, you&#8217;d likely want to avoid the AZ product if possible. If that&#8217;s all that&#8217;s available and you are in a high risk group for severe COVID-19 infection, you&#8217;d be wise to take the AZ drug.</p> <p>That there are side effects to any drug is inevitable. A therapeutic without unwanted events will not have any desirable ones. When looking at vaccines that have been rushed into widespread use at record speed no one should be surprised at untoward reactions. When a complication occurs at the frequency that seems to be that of VITT it is almost certain that it wouldn&#8217;t be found in clinical trials that involve thousands, not millions of subjects. </p> <p>&nbsp; </p> Divas need love too https://parterre.com/2021/04/12/divas-need-love-too/ parterre box urn:uuid:4a50bf1f-b8ce-1117-147f-3582019372b6 Mon, 12 Apr 2021 12:00:27 +0000 <p><a href="https://parterre.com/2021/04/12/divas-need-love-too/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/diva-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/diva-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/diva-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/diva-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/diva-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/diva-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Happy Diva Day!</p> <p><img class="aligncenter size-full wp-image-76222" src="https://parterre.com/wp-content/uploads/2021/04/diva-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2021/04/diva-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/diva-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/diva-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Born on this day in 1898 soprano <strong>Lily Pons</strong>.</p> <p><a href="//www.youtube.com/watch?v=I6zOjeseitY&#038;fmt=18">//www.youtube.com/watch?v=I6zOjeseitY</a></p> <p>Born on this day in 1933 soprano <strong>Montserrat Caballê</strong>.</p> <p><a href="//www.youtube.com/watch?v=UgbU88Pyq6I&#038;fmt=18">//www.youtube.com/watch?v=UgbU88Pyq6I</a></p> <p>Happy 73rd birthday soprano <strong>Mariella Devia.</strong></p> <p><a href="//www.youtube.com/watch?v=3y_qjYkUs90&#038;fmt=18">//www.youtube.com/watch?v=3y_qjYkUs90</a></p> <p>Born on this day in 1923 Tsarina of Tap <strong>Ann Miller</strong>.</p> <p><a href="//www.youtube.com/watch?v=a4jXDGAeQQg&#038;fmt=18">//www.youtube.com/watch?v=a4jXDGAeQQg</a></p> Luisa Miller https://parterre.com/2021/04/11/luisa-miller-4/ parterre box urn:uuid:5972aea2-ab63-d8c4-4433-6c3e9137e18b Sun, 11 Apr 2021 21:51:53 +0000 <p><a href="https://parterre.com/2021/04/11/luisa-miller-4/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/luisa-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/luisa-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/luisa-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/luisa-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/luisa-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/luisa-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Sonya Yoncheva, Olesya Petrova, Piotr Beczala, Plácido Domingo, Alexander Vinogradov, and Dmitry Belosselskiy, conducted by Bertrand de Billy. Production by Elijah Moshinsky. From April 14, 2018.</p> <p><img src="https://parterre.com/wp-content/uploads/2020/08/luisa-inside-1.jpg" alt="" width="720" height="405" class="aligncenter size-full wp-image-71712" srcset="https://parterre.com/wp-content/uploads/2020/08/luisa-inside-1.jpg 720w, https://parterre.com/wp-content/uploads/2020/08/luisa-inside-1-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2020/08/luisa-inside-1-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" rel="noopener" target="_blank">begin at 7:30 PM</a>.</p> <p>Photo: Chris Lee / Met Opera</p> Greece is the word https://parterre.com/2021/04/11/greece-is-the-word/ parterre box urn:uuid:66b8e07b-47dc-f363-8d9b-04a83caf0b47 Sun, 11 Apr 2021 16:14:49 +0000 <p><a href="https://parterre.com/2021/04/11/greece-is-the-word/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/illya-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/illya-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/illya-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/illya-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/illya-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/illya-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>On this day in 1967 actress <strong>Melina Mercouri</strong> brushed up her song and dance skills to open <em>Illya Darling</em>, a musical version of <em>Never on Sunday.</em> The show ran 319 performances at the Mark Hellinger Theatre.</p> <p><a href="//www.youtube.com/watch?v=iJm2YMgWEgw&#038;fmt=18">//www.youtube.com/watch?v=iJm2YMgWEgw</a></p> <p>On this day in 1975 soprano <strong>Katia Ricciarelli</strong> made her Met debut as Mimì.</p> <p><a href="//www.youtube.com/watch?v=2rxnbnENC40&#038;fmt=18">//www.youtube.com/watch?v=2rxnbnENC40</a></p> <p>On this day in 2008 the first Metropolitan Opera performance of <strong>Philip Glass</strong>&#8216; <em>Satyagraha</em>.</p> <p><a href="//www.youtube.com/watch?v=PCGmbzRz9Ws&#038;fmt=18">//www.youtube.com/watch?v=PCGmbzRz9Ws</a></p> <p>Birthday anniversaries of conductor <strong>Albert Coates</strong> (1882), baritone <strong>Hans Reinmar</strong> (1895), composer <strong>Alberto Ginastera</strong> (1916), soprano<strong> Erna Spoorenberg</strong> (1926), bass <strong>Kurt Moll</strong> (1938) and tenor <strong>Arthur Davies</strong> (1941).</p> Roméo et Juliette https://parterre.com/2021/04/10/romeo-et-juliette-5/ parterre box urn:uuid:f17902ac-89d7-cc5e-446e-e00ac1f2b326 Sat, 10 Apr 2021 21:01:41 +0000 <p><a href="https://parterre.com/2021/04/10/romeo-et-juliette-5/"><img width="720" height="246" src="https://parterre.com/wp-content/uploads/2020/07/romeo-header-720x246.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2020/07/romeo-header-720x246.jpg 720w, https://parterre.com/wp-content/uploads/2020/07/romeo-header-300x103.jpg 300w, https://parterre.com/wp-content/uploads/2020/07/romeo-header-768x263.jpg 768w, https://parterre.com/wp-content/uploads/2020/07/romeo-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2020/07/romeo-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Anna Netrebko, Roberto Alagna, Nathan Gunn, and Robert Lloyd, conducted by Plácido Domingo. Production by Guy Joosten. From December 15, 2007.</p> <p><img class="aligncenter size-full wp-image-71044" src="https://parterre.com/wp-content/uploads/2020/07/romeo-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2020/07/romeo-inside.jpg 720w, https://parterre.com/wp-content/uploads/2020/07/romeo-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2020/07/romeo-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" target="_blank" rel="noopener">begin at 7:30 PM</a>.</p> <p>Photo: Ken Howard/Metropolitan Opera</p> La Bohème https://parterre.com/2021/04/10/la-boheme-13/ parterre box urn:uuid:a538c146-2ebf-c779-ceac-9aeecc29b058 Sat, 10 Apr 2021 15:19:49 +0000 <p><a href="https://parterre.com/2021/04/10/la-boheme-13/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/blue-boheme-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/blue-boheme-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/blue-boheme-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/blue-boheme-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/blue-boheme-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/blue-boheme.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Performance from October 2, 2017: Alexander Soddy conducts Angel Blue (Mimì), Brigitte Kele (Musetta), Dmytro Popov (Rodolfo), Lucas Meachem (Marcello), Duncan Rock (Schaunard), David Soar (Colline), Paul Plishka (Benoit/Alcindoro).</p> <p><img class="aligncenter size-full wp-image-76200" src="https://parterre.com/wp-content/uploads/2021/04/boheme-inside.jpg" alt="" width="720" height="406" srcset="https://parterre.com/wp-content/uploads/2021/04/boheme-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/boheme-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/boheme-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="https://www.metopera.org/season/radio/saturday-matinee-broadcasts/station-finder/" target="_blank" rel="noopener">begin at 1:00 PM</a>.</p> <p>Photo: Marty Sohl/Metropolitan Opera</p> Kiss me and kill me https://parterre.com/2021/04/10/kiss-me/ parterre box urn:uuid:e6561785-44d2-3eb7-0a5e-6b14d70e95d4 Sat, 10 Apr 2021 12:00:19 +0000 <p><a href="https://parterre.com/2021/04/10/kiss-me/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/jane-kean-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/jane-kean-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/jane-kean-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/jane-kean-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/jane-kean-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/jane-kean-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Born on this day in 1923 actress and singer <strong>Jane Kean</strong>.</p> <p><a href="//www.youtube.com/watch?v=Vm4WVkD8uZo&#038;fmt=18">//www.youtube.com/watch?v=Vm4WVkD8uZo</a></p> <p>On this day in 1996 tenor <strong>Roberto Alagna</strong> made his Met debut as Rodolfo.</p> <p><a href="//www.youtube.com/watch?v=eNSyvPN7EPQ&#038;fmt=18">//www.youtube.com/watch?v=eNSyvPN7EPQ</a></p> <p>Happy 94th birthday tenor <strong>Luigi Alva</strong>.</p> <p><a href="//www.youtube.com/watch?v=4xqRx5ggOqs&#038;fmt=18">//www.youtube.com/watch?v=4xqRx5ggOqs</a></p> <p>Birthday anniversaries of composer <strong>Eugen d’Albert</strong> (1864), conductor <strong>Victor De Sabata</strong> (1892) and director and administrator <strong>Herbert Graf</strong> (1904).</p> The Nose https://parterre.com/2021/04/09/the-nose-2/ parterre box urn:uuid:5024b906-8a12-551e-b7f2-99aebbf1c4bd Fri, 09 Apr 2021 21:55:20 +0000 <p><a href="https://parterre.com/2021/04/09/the-nose-2/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/nose-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/nose-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/nose-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/nose-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/nose-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/nose-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Andrey Popov, Alexander Lewis, and Paulo Szot, conducted by Pavel Smelkov. Production by William Kentridge. From October 26, 2013.</p> <p><img src="https://parterre.com/wp-content/uploads/2021/04/nose-inside.jpg" alt="" width="720" height="405" class="aligncenter size-full wp-image-76186" srcset="https://parterre.com/wp-content/uploads/2021/04/nose-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/nose-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/nose-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" rel="noopener" target="_blank">begin at 7:30 PM</a>.</p> <p>Photo: Ken Howard/Metropolitan Opera</p> Check Out These 2021 Summer Intensives Especially for Adults https://www.pointemagazine.com/adult-ballet-summer-intensives-2021-2652302401.html Pointe Magazine urn:uuid:4e759452-8115-85ff-f473-fd1279fcc666 Fri, 09 Apr 2021 20:27:37 +0000 <img src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAzNjU4NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY2NDAyNjE2Mn0.7P9lEp-snWs68wGS_Sg6BHjBKLFieWHFO21tiFesV88/img.jpg?width=1200&coordinates=0%2C0%2C0%2C0&height=800"/><br/><br/><p>After a year of shuttered studios, virtual-only classes, and waving to ballet buddies over Zoom, summer intensives are back. For adult students, packing up for a few days of intensive training might seem like a pipe dream, as many of us spent the last year trying to fit in ballet classes while juggling work and, for those of us with kids, remote learning. With the country opening up again, let's start planning (safely!) for workshops that allow us to jump into technique, conditioning and, of course, high-elbowing some new friends. </p><p><em>For in-person intensives, please check the studio's website for detailed health and safety guidelines, including policies on masks, cleaning/hygiene, social distancing, and the policy on having to cancel in-person programs due to COVID-19 restrictions.</em></p><h3>CALIFORNIA</h3><br/><p><strong>Alonzo King LINES Ballet Adult Dance Intensive (virtual only, via Zoom)</strong></p><p>May 28–31, San Francisco</p><p>Immerse yourself in the celebrated home of <a href="https://linesballet.org/" target="_blank">Alonzo King</a>, the artistic visionary who created LINES 39 years ago. Now in its second year as a virtual offering, this four-day workshop includes ballet, yoga, Pilates, choreography and contemporary. Students also have the option to drop in to class if they can't commit to all four days.</p><h3>KENTUCKY</h3><br/><p><strong>Lexington Ballet Adult Ballet Intensive</strong></p><p>July 12–16, Lexington</p><p>Why should thoroughbreds have all the fun of training in the horse capital of the world? Reach new heights in your training at <a href="https://www.lexingtonballet.org/ballet-school/" rel="noopener noreferrer" target="_blank">Lexington Ballet's Adult Ballet Intensive</a>. Join school directors Luis and Nancy Dominguez and principal instructor Ayoko Lloyd for a five-day workshop that includes conditioning, Pilates, technique and repertoire. All classes are held in the evenings, and the program welcomes beginning through advanced students.</p><h3></h3><br/><img alt="A group of eight smiling adult ballet students\u2014seven women and one man in the middle\u2014pose in a line and stand on their right leg in tendu crois\u00e9 devant." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="adf522581a82dc2bee4b0c2a98aa7fae" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAzNjU4Ny9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMDk1MTk4MX0.Wm3Q2GWv2sMnc3oFpQc1qp_H_lUCFiN5mRDWDx7T7Tg/img.jpg?width=980" height="3024" id="5e5c4" lazy-loadable="true" width="4032"/><h3></h3><br/><p><strong></strong><strong>Louisville Ballet Adult Summer Intensive</strong></p><p>May 31–June 4, Louisville</p><p>Polish off a glass of sweet tea (or two), and then work up a sweet sweat at <a href="https://www.louisvilleballet.org/DanceSchool/intensives/" target="_blank">Louisville Ballet's Adult Summer Intensive</a>. Geared towards beginning through advanced levels, students ages 18+ can take part in half- or full days of training. Classes offered include technique, pointe and jump strengthening, modern, Pilates and yoga. Students will also perform in a livestreamed performance on the final day.</p><h3>MASSACHUSETTS</h3><br/><p><strong>Brookline Ballet School Adult Summer Ballet Intensive</strong></p><p>June 23–27, Brookline</p><p>The Red Sox and New England Patriots may get a bulk of the glory in Beantown, but the city is also a mecca for ballet. At <a href="http://www.brooklineballet.com/adult_ballet/summer_intensive" rel="noopener noreferrer" target="_blank">Brookline Ballet School's Adult Summer Ballet Intensive,</a> students (beginner or intermediate level) will spend three weeknights and two weekend mornings in technique and repertoire classes, wrapping up with an informal performance on Sunday afternoon.</p><h3>NEW YORK</h3><br/><p><strong>Kat Wildish Presents (virtual, via Zoom)</strong></p><p>June 14–25 and July 12–23</p><p>Join master ballet teacher Kat Wildish in a virtual <a href="https://taylorjgordon.wixsite.com/katwildish/" rel="noopener noreferrer" target="_blank">intensive</a> that aims to take your training to the next level. Each day, in one-hour classes, Kat will lead students of all levels from basic to advanced in various ballet exercises. The group will be limited to 20 dancers, so each person will get personal attention.<em></em></p><h3></h3><br/><img alt="A group of older adult ballet students in leotards, tights or leggings, stand in two lines with their left foot in B+ position and holding hands, as if rehearsing a ballet." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="98378f0afdf90f872aa0235f6da86642" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAzNjU5My9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY3MDgwMDcyN30.r2Sq0_2lJbGLqCURDzWFSch0ndqSY5bqs1WXx8dDndw/img.jpg?width=980" height="2000" id="48f71" lazy-loadable="true" width="3000"/><h3>OHIO</h3><br/><p><strong>artÉmotion Adult Ballet Summer Workshop</strong></p><p>June 14–19, Cleveland</p><p>Head to the Buckeye State for a week of training under the tutelage of Ballet West first soloist Allison DeBona and principal Rex Tilton. In this <a href="https://artemotionballetschool.com/adult-summerintensives" rel="noopener noreferrer" target="_blank">Adult Ballet Summer Workshop</a>, beginner and intermediate/advanced students will fine-tune their skills in two classes every morning: a 90-minute technique class followed by a one-hour class in one of the following disciplines: pointe/pre-pointe, acting, men's and women's variations, conditioning.</p><h3>PENNSYLVANIA</h3><br/><p><strong>Amy Novinski</strong></p><p>May 24–28 and June 28–July 2, Philadelphia</p><p>Those interested in the Vaganova technique may want to check out Amy Novinski's <a href="https://www.amynovinski.com/upcoming-events" rel="noopener noreferrer" target="_blank">Adult Workshops.</a> For the five-day May workshop, newbie dancers can look forward to classes devoted to ballet, jazz and yoga. For those more advanced, the June workshop offers more rigorous technique, contemporary ballet, pre-pointe/beginner pointe and jazz.</p><h3>SOUTH CAROLINA</h3><br/><p><strong>Ballet Academy of Charleston Adult Summer Intensive</strong></p><p>July 26–30 and August 2–6, Charleston</p><p>Embrace the low-country charm in historic Charleston, where a weeklong <a href="https://ballet-academy.org/adult-summer-intensive/" rel="noopener noreferrer" target="_blank">Adult Summer Intensive</a> at the Ballet Academy of Charleston invites beginning through advanced students to take classes in technique, stretching/Pilates/yoga, pre-pointe or pointe (for advanced students), variations, jazz, modern, contemporary and choreography. You may choose the half-day or full-day program.</p><h3>TEXAS</h3><br/><p><strong>Houston Ballet Adult Intensive</strong></p><p>June 1–5, Houston</p><p>For intermediate/advanced students with at least three years of ballet training, Houston Ballet's <a href="https://www.houstonballet.org/about/academy1/weekend-workshops/adult-workshop/" rel="noopener noreferrer" target="_blank">Adult Intensive</a> might be the perfect place to hone your skills. The school has two-, three- or five-day options, and includes ballet technique, variations, yoga and Zumba.</p><h3>UTAH</h3><br/><p><strong>May 31–June 5, Salt Lake City</strong></p><p>Ballet West welcomes students of all levels to artÉmotion's one-week <a href="https://artemotionballetschool.com/adult-summerintensives" rel="noopener noreferrer" target="_blank">Adult Ballet Summer Intensive</a>. Classes include ballet, contemporary, pointe, jazz, modern, acting, and men and women's variations. Available in full-day or half-day options, those dancing only in the morning will take two 90-minute technique classes. The full-day experience offers the opportunity to be choreographed on for an in-studio performance on Saturday, June 5. All students will also have a professional dance photo shoot with Logan Sorenson.</p><h3></h3><br/><img alt="A group of four men in dance practicewear face the right corner of the room and raise their arm as if beckoning someone. Three of the men stand in parallel, which the man in the middle sits in a wheelchair." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="cecff7ef01cf497d9c2c23649af76736" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAzNjU5Ni9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0OTYxNjk2N30.xWm8G1ac0wsSOwWYU8RKDSLJilbOOruLOK9Mk5ofcUY/img.jpg?width=980" height="720" id="2bf29" lazy-loadable="true" width="1080"/><h3>INTERNATIONAL</h3><br/><p><strong>The August Ballet Retreat in Leeds</strong></p><p>August 28–30, Leeds, UK</p><p>The three-day <a href="https://www.theballetretreat.com" rel="noopener noreferrer" target="_blank">August Ballet Retreat in Leeds</a> offers classes for students of all abilities. The mornings are devoted to technique, and in the afternoon, students will focus on repertoire. In the past, The Ballet Retreat has taught solos from <em>Sleeping Beauty</em>, <em>Romeo and Juliet </em>and <em>Giselle. </em>One detail is still tentative:<em> </em>If the retreat is unable to take place in person due to the pandemic, it will be offered virtually over Zoom.</p><p><strong>Morlaix International Adult Ballet Camp</strong></p><p>July 2–10, Morlaix, France</p><p>The <a href="http://www.morlaixballetcamp.com" rel="noopener noreferrer" target="_blank">Morlaix International Adult Ballet Camp</a> is in the heart of France's Brittany region. In this full-day intensive, intermediate through advanced-level students will be led by an international faculty. Dancers can look forward to morning ballet classes and rehearsals in the afternoon. The week of training wraps up with a performance of Bournonville's <em>Napoli</em> at a nearby theater. Please <a href="http://adultballetcamp@gmail.com" rel="noopener noreferrer" target="_blank">contact</a> the school for information about room and board.</p> Pelléas et Mélisande https://parterre.com/2021/04/09/pelleas-et-melisande-3/ parterre box urn:uuid:729edc77-6cde-69e7-e1f3-a2b460bb4b02 Fri, 09 Apr 2021 13:58:44 +0000 <p><a href="https://parterre.com/2021/04/09/pelleas-et-melisande-3/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/pelleas-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/pelleas-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/pelleas-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/pelleas-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/pelleas-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/pelleas-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Recorded in March 2021. New production of the Opéra de Lille.</p> <p><img class="aligncenter size-full wp-image-76180" src="https://parterre.com/wp-content/uploads/2021/04/pelleas-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2021/04/pelleas-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/pelleas-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/pelleas-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion begin at 1:00 PM.</p> <p><a href="//www.youtube.com/watch?v=t5S4BJy2x5Y&#038;fmt=18">//www.youtube.com/watch?v=t5S4BJy2x5Y</a></p> <p>Photo: Frédéric Iovino</p> From an unknown woman https://parterre.com/2021/04/09/from-an-unknown-woman/ parterre box urn:uuid:b9983597-a728-37d4-95ac-a8aa59dafc1d Fri, 09 Apr 2021 13:03:06 +0000 <p><a href="https://parterre.com/2021/04/09/from-an-unknown-woman/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/polaski-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/polaski-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/polaski-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/polaski-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/polaski-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/polaski-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>On this day in 1992 soprano <B>Deborah Polaski</b> made her Met debut as Kundry.</p> <p><a href="//www.youtube.com/watch?v=ruzQP1nwVM0&#038;fmt=18">//www.youtube.com/watch?v=ruzQP1nwVM0</a></p> <p>Born on this day in 1847 composer <strong>Francesco Paolo Tosti</strong>.</p> <p><a href="//www.youtube.com/watch?v=va5Je7rmiFI&#038;fmt=18">//www.youtube.com/watch?v=va5Je7rmiFI</a></p> <p>Birthday anniversaries of tenor <strong>Julius Patzak</strong> (1898), singer and actor <strong>Paul Robeson</strong> (1898), conductor <strong>Antal Dorati</strong> (1906), mezzo-soprano/contralto <strong>Cloe Elmo</strong> (1910) and bass-baritone <strong>Claudio Desderi.</strong> (1943).</p> Pre-Professional Program students performing in Aspire ’21 showcase https://www.balletnews.co.uk/28879-2/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:18170281-57e4-fbdb-ad3e-294eeef82515 Fri, 09 Apr 2021 08:50:39 +0000 Queensland Ballet Academy’s Pre-Professional Program dancers will take to the stage from 20 – 22 May 2021, showcasing their technique and artistry in the annual showcase&#160;Aspire ’21. Photo :...<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/XvhlWxTx_BQ" height="1" width="1" alt=""/> Mahler - Abschied. In memory of David Caille, 1986-2014 http://npw-opera-concerts.blogspot.com/2021/04/david-caille-1986-2014-abschied.html We left at the interval... urn:uuid:bf3cc300-e6ff-98a6-d931-7b7dac48fda1 Fri, 09 Apr 2021 05:22:00 +0000 <p>I had tickets to see Ann Hallenberg in Mahler's <i>Song of the Earth</i> in Berlin on April 5 2014, but had to cancel the whole trip for work. On April 8, this clip of Ann singing the <i>Abschied</i> was published on YouTube. On April 9, David, at just 27, took his own life and we lost an artist who could, I sincerely believe, even now have brought something quite new to the art of painting. For me, this <i>Abschied</i> has always been, since then, a farewell to David.</p><p>As <a href="https://npw-anyotherbusiness.blogspot.com/2021/04/david-caille-1986-2014.html" target="_blank">Peter Doig said</a>, he will not be forgotten.<br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LS8obIQRBrU" width="320" youtube-src-id="LS8obIQRBrU"></iframe></div><br /><p>The following Saturday, on a beautiful sunny day up in the snow-capped mountains: deep blue sky, white blossoms on the trees... I was at his funeral, where the crowd of those who loved him was such that many had to stay outside the church among the mountains of flowers, and inside, this was played:</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WIF4_Sm-rgQ" width="320" youtube-src-id="WIF4_Sm-rgQ"></iframe></div><p>&nbsp;'<span><span>Now I've heard there was a secret chord /&nbsp;</span><span>That David played, and it pleased the Lord..' </span></span></p><p><br /></p> Francesca da Rimini https://parterre.com/2021/04/08/francesca-da-rimini-6/ parterre box urn:uuid:9e3f6746-1bad-3459-ceeb-df368ad25a06 Thu, 08 Apr 2021 21:27:28 +0000 <p><a href="https://parterre.com/2021/04/08/francesca-da-rimini-6/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/francesca-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/francesca-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/francesca-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/francesca-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/francesca-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/francesca-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Renata Scotto, Plácido Domingo, and Cornell MacNeil, conducted by James Levine. Production by Piero Faggioni. From April 7, 1984.</p> <p><img class="aligncenter size-full wp-image-76166" src="https://parterre.com/wp-content/uploads/2021/04/francesca-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2021/04/francesca-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/francesca-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/francesca-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" target="_blank" rel="noopener">begin at 7:30</a>.</p> <p>Photo: Met Archives</p> Why Planning Summer Study This Year Is More Complicated Than Ever https://www.pointemagazine.com/ballet-summer-intensives-2021-2651926767.html Pointe Magazine urn:uuid:19b29159-894e-5eb3-3919-3a5b4fa87ceb Thu, 08 Apr 2021 19:21:23 +0000 <img src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAzMTcyOC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyNTEwNDk3M30.CqOSfuFyjlH0aG0kqZDeSIWDgo6Y3GLgcseFtiTMawU/img.jpg?width=1245&coordinates=0%2C186%2C0%2C172&height=700"/><br/><br/><p>When it comes to navigating summer intensives, 2021 may be more complicated for ballet students than last year. On the heels of the COVID-19 pandemic's spring spike in 2020, summer programs went all-virtual or had very limited capacity. This year is more of a mixed bag, with regulations and restrictions varying widely across state and county lines and changing week by week.</p><p>Between vaccines and variants, can students aim for a full calendar of intensive training at local and national summer programs?</p><hr/><h3>In-Studio Classes, Lower Enrollment</h3><br/><p>Many schools affiliated with major companies are finding ways to make in-person intensives possible, with some offering housing. However, they're doing so at smaller scales to enable social distancing. For instance, at San Francisco Ballet School, administrators have decreased enrollment by 25 percent compared to normal years. Boston Ballet School's Summer Dance Program is expecting to land at two-thirds enrollment overall in both its classes and housing, as compared to a non-pandemic year. While in-person classes are a big improvement from last year, smaller enrollment at major schools means that a large number of students can't be accommodated.</p><p>This stressful situation may be heightened by waitlists for those coveted in-person slots. "Yes, waitlists are longer. That said, we've never used one before, so we don't have a good comparison to base that off of," confirms Dave Czesniuk, managing director of Boston Ballet School, over email. "We are sensing a lot of 'wait and see' from the population. We won't be allotting any additional acceptances, since we filled our enrollment and waitlist so fast."</p><p>Luckily, the pandemic uncertainty has also meant that some programs are announcing plans later and still hosting auditions through April and May—check out <em>Pointe</em>'s<a href="https://www.pointemagazine.com/summer-study-guide-2641538810.html" target="_self"> </a><a href="https://www.pointemagazine.com/summer-study-guide-2641538810.html" target="_self">Summer Study Guide</a>, which is regularly updated.</p><h3></h3><br/><img alt="In a large dance studio, a female dance student in practice clothes and a blue face mask kneels on her left leg and holds her hand to her heart. Next to her on the right, a young male student in track pants, a blue mask and a fleece vest stands in parallel and holds his hands to his heart. They both look at their reflection in the mirror (not shown)." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="2f9be90959842b1c5a3f710e21e64c21" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAzMTgxOC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1NjUxMTg2MX0.EtNkcKaG7Nl8-vNJKumTZwHjJ5r43Dz4BBpucnkP0Ug/img.jpg?width=980" height="4381" id="02290" lazy-loadable="true" width="3589"/><h3>Should You Go In-Person or Virtual?</h3><br/><p>Many top-tier intensives, like the ones mentioned above, will offer a combination of in-person training and virtual classes (expanding the latter as a contingent plan if outbreaks occur). Smaller, bubble-like programs are also worth considering, and may be more conducive for social distancing, whether commuter-based or residential. For example, Michigan's Interlochen Center for the Arts, which is offering a virtual option and on-site programs, has outdoor studios, cabin-style housing spaced out on a wooded campus and regular testing.</p><p>Other schools are only offering virtual intensives.<strong> </strong>For example, American Ballet Theatre is not holding in-person programming at its Southern California location and is waiting for more information from its Texas, Florida and Alabama university partners before deciding whether those will be in-person. (The New York City intensive, also still tentative, does not offer housing.)</p><h3></h3><br/><img alt="Zimmi Coker poses next to a laptop showing a ballet Zoom class and smiles brightly for the camera. She wears her red hair in a low bun and a mint green tank top." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="4f36ac3b7f8fa78cee6a06e21851a714" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAzMTc3OC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0MDQ4NzAwNn0.kOSBflkzgzKjoiBCXnlX9xlJ3Mu_qGugNveTAzT6hhw/img.jpg?width=980" height="768" id="6f3c1" lazy-loadable="true" width="1024"/><h3></h3><br/><p>There are pros and cons to each type of intensive, and you should take into account your current training and career goals, as well as safety, when deciding which to attend. For example, younger students, with their shorter attention spans, may be best served at a program that lets them train in person, so that they can take a full class through grand allégro and receive in-person, dedicated corrections.</p><p>Alternately, older students often see summer sessions as a chance to get in front of a director and potentially earn a traineeship or apprentice contract down the road. Joseph Morrissey, dance director at Interlochen Center for the Arts, acknowledges that his older students looking to train away from home this summer may feel pressure to network at company-attached programs. But while vaccines may be possible for students over the age of 16 by summertime, he says, he wants them to be vigorous in selecting an intensive for its safety protocols. "I would never sacrifice safety over networking."</p><p>Kate Lydon, director of ABT's summer intensives, notes that virtual intensives can be a great place to safely network. She points out that ABT Jacqueline Kennedy Onassis School director Cynthia Harvey, ABT Studio Company director Sascha Radetsky and ABT artistic director Kevin McKenzie will be teaching at all of the company's two-week virtual intensives—and confirms they will be keeping an eye out for new talent. "These three see more students over Zoom than they normally would because usually they would only be present at our New York program."</p><h3>Staying Local</h3><br/><p>This summer may see more dancers staying close to home. Elizabeth Hutter, principal at New Ballet School in San Jose, California, is leery of sending her students to in-person residential programs due to the risk of a COVID-19 outbreak. "What might look sure right now might be unsafe in two weeks," she says. Her dancer daughter, 18-year-old Sarah Patterson, has decided to stay home this summer to take advantage of in-person classes at the New Ballet School's outdoor studio.</p><p>Katie Slattery, a faculty member at The Florida Ballet, is seeing a similar trend and says this is a genuine concern for families. "Most of our advanced year-round students who typically go away to an intensive are enrolling here for summer because their parents don't want to send them away due to COVID."</p><p>Hutter also notes that many families have been economically impacted by the pandemic, making a residential program—or finding housing if it's not provided—financially challenging. She adds that some schools are charging just as much for their virtual sessions, and that not all families have the same access to at-home training accommodations, like wide space and portable flooring. If your family isn't in a position to pay for full-priced programs, training at your local studio may be the more economical fit with the lowest health risk. </p><h3></h3><br/><img alt="Outside on a tennis court, a female ballet student in a pink sweater and gray sweatshorts practices cambr\u00e9 back at a portable barre. Behind her in the the distance is her male instructor, wearing a face mask and workout clothes, who watches her and holds his right arm up to mimic hers." class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="3a1f28d87ac7d73e22f460dc07f02c82" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAzMTc2NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1MjE5MzA3N30.UBiyJcnWKXa1gvQmEHWfr8rgVf5PBjd_CXCLkzaxXCk/img.jpg?width=980" height="1592" id="eeea2" lazy-loadable="true" width="2052"/><h3>Design Your Own Hybrid Curriculum</h3><br/><p>To get the best of both studio training and national networking, Lydon suggests combining in-person and virtual programs, if possible. For instance, you could start or end your summer with a short virtual session and also attend a local, socially distanced one.</p><p>If that's not an option, keep in mind that the wealth of online training resources, from master classes to cross-training to at-home technique and pointe classes, is likely to continue into 2021. While a smattering of Instagram and YouTube classes can't replace a dedicated training schedule and live teacher corrections,<a href="https://www.pointemagazine.com/training-outside-your-ballet-studio-2650927398.html" target="_self"> </a><a href="https://www.pointemagazine.com/training-outside-your-ballet-studio-2650927398.html" target="_self">strategically selected virtual classes</a> may help supplement your local training.</p><p>Morrissey's advice is to keep everything in perspective. Understand that many students are in the same boat this year, and one summer won't make or break your career if you keep dancing and stay positive. "At the end of the day, the art form is not going anywhere," he says. "It's on maybe a little bit of a pause, it's not fun, it's not comfortable, but we will come back."</p> Who wants to ‘Live’ forever? https://parterre.com/2021/04/08/who-wants-to-live-forever/ parterre box urn:uuid:5cd26c62-1196-0e3f-cff1-839c102ae9aa Thu, 08 Apr 2021 18:24:57 +0000 <p><a href="https://parterre.com/2021/04/08/who-wants-to-live-forever/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/met-live-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/met-live-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/met-live-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/met-live-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/met-live-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/met-live-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>The Metropolitan Opera announces two further concerts in the <i>Met Stars Live in Concert series.</i></p> <p><img class="aligncenter size-full wp-image-76160" src="https://parterre.com/wp-content/uploads/2021/04/met-live-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2021/04/met-live-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/met-live-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/met-live-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" /><em>Wagnerians in Concert</em> on Saturday, May 8 at 1pm EST features sopranos <strong>Christine Goerke</strong> and<strong> Elza van den Heever</strong>, tenor <strong>Andreas Schager</strong> and baritone <strong>Michael Volle</strong>, live from the Hessisches Staatstheater, in Wiesbaden, Germany.</p> <p>The performance, with piano accompaniment by Craig Terry, will include arias and duets from Wagner’s <em>Der Fliegende Holländer</em>, <em>Lohengrin</em>,<em> Parsifal</em>,<em> Das Rheingold</em>, <em>Tannhäuser</em>, and<em> Die Walküre</em>, as well as songs by Richard Strauss.<em> </em>Also on the program is Wagner’s <em>Wesendonck Lieder</em> and the final scene from Strauss’s <em>Die Frau ohne Schatten</em>, with both selections featuring all four artists.</p> <p style="font-weight: 400;"><em>Three Divas</em> showcases sopranos <strong>Ailyn Pérez </strong>and <strong>Nadine Sierra</strong> and mezzo-soprano<strong> Isabel Leonard</strong><em>, </em>live from the Opéra Royal—Château de Versailles, in France, on May 22.</p> <p style="font-weight: 400;">This concert is presented in association with the Opéra Royal du Château de Versailles, whose glorious 250-year-old theater, inaugurated for Marie Antoinette’s royal wedding, will be the venue for the performance. The complete program will be announced shortly.</p> <p>The program for the Wagnerians concert is as follows:</p> <p>“Dich, teure Halle”<br /> From Wagner’s <em>Tannhäuser</em></p> <p>“Allerseelen,” Op. 10, No. 8<br /> By Richard Strauss</p> <p>“Cäcilie,” Op. 27, No. 2<br /> By Richard Strauss</p> <p>“Wie Todesahnung … O du, mein holder Abendstern”<br /> From Wagner’s <em>Tannhäuser</em></p> <p>“Ein Schwert verhiess mir der Vater”<br /> From Wagner’s <em>Die Walküre</em></p> <p>Wesendonck Lieder, WWV 91<br /> “Der Engel”<br /> “Stehe still!”<br /> “Im Treibhaus”<br /> “Schmerzen”<br /> “Träume”<br /> By Richard Wagner</p> <p>“Wirst du des Vaters Wahl nicht schelten?”<br /> From Wagner’s <em>Der Fliegende Holländer</em></p> <p>“Winterstürme wichen dem Wonnemond … Du bist der Lenz”<br /> From Wagner’s <em>Die Walküre</em></p> <p>“Abendlich strahlt der Sonne Auge”<br /> From Wagner’s <em>Das Rheingold</em></p> <p>“Nur eine Waffe taugt”<br /> From Wagner’s <em>Parsifal</em></p> <p>“Euch Lüften … Entweihte Götter!”<br /> From Wagner’s <em>Lohengrin</em></p> <p>“Nun will ich jubeln”<br /> From R. Strauss’s <em>Die Frau ohne Schatten</em></p> <p>Soprano <strong>Angel Blue</strong> has withdrawn from her previously announced recital for personal reasons.</p> <p>Photo: Ken Howard</p> <p>&nbsp;</p> I, Franco https://parterre.com/2021/04/08/i-franco/ parterre box urn:uuid:019f0f16-35a0-a86f-a6de-76261f80a3cd Thu, 08 Apr 2021 14:00:11 +0000 <p><a href="https://parterre.com/2021/04/08/i-franco/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/corelli-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/corelli-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/corelli-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/corelli-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/corelli-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/corelli-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p><strong>Franco Corelli</strong> was born on April 8, 1921 in Ancona and Trove Thursday celebrates the matinee-idol tenor&#8217;s centenary with a pair of his rare non-Met US appearances; seducing <strong>Marie Collier</strong> in <em>La Fanciulla del West</em> and vacillating between <strong>Ilva Ligabue</strong> and <strong>Grace Bumbry</strong> in <em>Il Trovatore.</em></p> <p><img class="aligncenter size-full wp-image-76146" src="https://parterre.com/wp-content/uploads/2021/04/corelli-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2021/04/corelli-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/corelli-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/corelli-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Never having been a rabid, card-carrying Corelli fan, I was surprised to discover how swiftly Metcentric the tenor’s career became after his debut 60 years ago this January. True, he’d often pop over to Philadelphia, but he appeared only five times with the San Francisco Opera: <em>Tosca </em>with <strong>Dorothy Kirsten</strong>.</p> <p>His other outings during November 1965 were three in Los Angeles and this single San Diego <em>Fanciulla</em>. The year before, he had made his Chicago Lyric debut in today’s Opening Night <em>Trovatore </em>followed by <em>Carmen </em>(again with Bumbry), then <em>La Bohème </em>the next fall opposite <strong>Mirella Freni</strong> immediately after her Met debut. Then that’s it for both companies.</p> <p>But the US public beyond the East Coast wasn’t denied Corelli as he headlined the Met’s spring tours for a startling 12 of his 15 seasons with the company! These then make up a substantial portion of his 369 Met appearances.</p> <p><a href="//www.youtube.com/watch?v=9FTRRtBzT04&#038;fmt=18">//www.youtube.com/watch?v=9FTRRtBzT04</a></p> <p>Where La Scale heard the tenor in rare works like <em>Il Pirata, Poliuto, Les Huguenots </em>(or rather, <em>Gli Ugonotti</em>), <em>La Battaglia di Legnano </em>and Handel’s <em>Giulio Cesare </em>and <em>Hercules, </em>the US only got Corelli in his traditional repertoire—19 roles with the Met.</p> <p>In addition to many expected iterations of <em>Turandot, Tosca, </em>and<em> Aïda, </em>there were anomalies like three Macduffs in <em>Macbeth </em>during the 1973 tour and just one Edgardo (several days later he dropped out of a second <em>Lucia </em>after the first act!). His Pollione in <em>Norma </em>with <strong>Rita Hunter</strong> and <strong>Frederica von Stade</strong> was scheduled for the fall of 1975 but he withdrew after the dress rehearsal and never again appeared with the Met.</p> <p><a href="//www.youtube.com/watch?v=Mv6JORvDERc&#038;fmt=18">//www.youtube.com/watch?v=Mv6JORvDERc</a></p> <p>In a brief interview included after the conclusion of the Chicago <em>Trovatore </em>Corelli remarks that his favorite role is Don José (because they’re so alike!) but strangely he never did <em>Carmen </em>at either the old or new Met. He <em>did</em> appear however in two 1968 parks performances opposite <strong>Rosalind Elias</strong>—in the Bronx and Queens, no less, while Manhattan and Staten Island got <strong>Barry Morell</strong>! But local Corelli fans surely traipsed to Philadelphia to see his José stab <strong>Marilyn Horne i</strong>n 1962, then <strong>Regina Resnik</strong> in 1971. The latter proved to be his final appearance in that city.</p> <p>Further puzzles arise around Corelli’s choices. Why after 1964 did he break with La Scala, a company for whom he opened eight of the 11 seasons he appeared there, beginning with his debut in 1954 opposite <strong>Maria Callas</strong> in <em>La Vestale</em>? What delayed his Met debut until he was nearly 40?</p> <p><a href="//www.youtube.com/watch?v=XHQl7H-jxMg&#038;fmt=18">//www.youtube.com/watch?v=XHQl7H-jxMg</a></p> <p>In addition to the intense curiosity about his tackling <em>Otello,</em> why did he never take on Des Grieux in <em>Manon Lescaut, </em>a role so obviously suited to him&#8211;particularly after his white-hot duet with <strong>Renata Tebaldi</strong> at the gala that closed the old Met?</p> <p><a href="//www.youtube.com/watch?v=kf9J794LukA&#038;fmt=18">//www.youtube.com/watch?v=kf9J794LukA</a></p> <p>Corelli was still a force when I began to listen to the Saturday afternoon Met broadcasts, but I wasn’t much of fan back then. His sobbing and peculiar lisp bothered me as well as his awful French diction in <em>Roméo et Juliette </em>and <em>Werther. </em>Later I came across several earlier live performances&#8211;particularly a spectacular Met <em>Ernani </em>broadcast with Leontyne Price—that made me more of a believer.</p> <p><a href="//www.youtube.com/watch?v=ClkIjVyS4yA&#038;fmt=18">//www.youtube.com/watch?v=ClkIjVyS4yA</a></p> <p>A few warnings about these recordings: the primitive-sounding in-house <em>Fanciulla </em>isn’t the easiest listening experience but it captures Corelli’s Dick Johnson opposite the intense Minnie of San Francisco Opera favorite, ill-fated Australian soprano <strong>Marie Collier</strong> (which whom he also appeared in a single <em>Bohème </em>at the Met where she was due to repeat <em>Fanciulla, </em>an engagement canceled by the 1969 strike).</p> <p>The <em>Trovatore </em>broadcast is an example of that maddening species where the announcer occasionally speaks over the music—ugh! But it’s worth putting up with to catch one of Corelli’s final US Manricos mothered by a fiery Bumbry who was 16 years younger than her son!</p> <p>When Herbert von Karajan brought Corelli and his legendary Salzburg Festival <em>Trovatore </em>in which the tenor appeared with Price, <strong>Giulietta Simionato</strong> and<strong> Ettore Bastianini</strong> to the Vienna Staatsoper in 1963, their Leonora was Ligabue. The Italian soprano, perhaps best known for her Alice Ford in <em>Falstaff, </em>performed a number of roles in Chicago and Dallas but just once in New York: Donizetti’s <em>Maria di Rohan </em>in New York with the <a href="https://parterre.com/american-opera-society-1951-1970/">American Opera Society</a>.</p> <p><strong>Puccini: <em>La Fanciulla del West</em></strong></p> <p>San Francisco Opera in San Diego<br /> 10 November 1965<br /> In-house recording</p> <p>Minnie &#8212; Marie Collier<br /> Wowkle &#8212; Claudia White<br /> Dick Johnson &#8212; Franco Corelli<br /> Jack Rance &#8212; Chester Ludgin<br /> Nick &#8212; Howard Fried<br /> Larkens &#8212; Adib Fazah<br /> Joe &#8212; Robert Glover<br /> Harry &#8212; William Whitesides<br /> Handsome &#8212; Winther Andersen<br /> Happy &#8212; David Giosso<br /> Sid &#8212; Colin harvey<br /> Sonora &#8212; Richard Fredricks<br /> Trin &#8212; Raymond Manton<br /> Jake Wallace &#8212; John West<br /> Ashby &#8212; Joshua Hecht<br /> Postillion &#8212; James Eitze<br /> Jose Castro &#8212; Pietro Menci<br /> Billy Jackrabbit &#8212; Andrew Foldi</p> <p>Conductor &#8212; Francesco Molinari-Pradelli</p> <p><iframe style="border: none;" src="//html5-player.libsyn.com/embed/episode/id/18647090/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>Verdi: <em>Il Trovatore</em></strong></p> <p>Lyric Opera of Chicago<br /> 9 October 1964<br /> Broadcast</p> <p>Leonora &#8212; Ilva Ligabue<br /> Azucena &#8212; Grace Bumbry<br /> Inez &#8212; Elizabeth Mannion<br /> Manrico &#8212; Franco Corelli<br /> Count di Luna &#8212; Mario Zanasi<br /> Ferrando &#8212; Ivo Vinco<br /> Ruiz &#8212; Robert Schmorr</p> <p>Conductor &#8212; Bruno Bartoletti</p> <p><iframe style="border: none;" src="//html5-player.libsyn.com/embed/episode/id/18647096/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>The Corelli <em>Fanciulla </em>and <em>Trovatore </em>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>Ligabue can also be heard in another Corelli specialty—<a href="https://parterre.com/2017/10/26/start-the-revolution-without-me/">Giordano’s<em> Andrea Chènier</em></a>&#8212; but she marches to the guillotine instead with Jon Vickers.</p> <p>In addition, more than 400 other podcast tracks are always available from <a href="https://itunes.apple.com/us/podcast/trove-thursday/id1039652739">Apple Podcasts</a> for free, or via any <a href="http://parterre.com/podcast/trovethursday.rss">RSS</a> reader.</p> <p>The archive which lists all Trove Thursday offerings in alphabetical order by composer was <a href="https://parterre.com/the-trove-thursday-archive/">up-to-dated</a> in late December.</p> <p>&nbsp;</p> Ice queen https://parterre.com/2021/04/08/ice-queen/ parterre box urn:uuid:2ef1ef36-2dd1-0883-93a4-8a1dac593f9c Thu, 08 Apr 2021 12:00:34 +0000 <p><a href="https://parterre.com/2021/04/08/ice-queen/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/henie-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/henie-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/henie-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/henie-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/henie-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/henie-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Born on this day in 1912 actress and Olympian <strong>Sonja Henie</strong>.</p> <p><a href="//www.youtube.com/watch?v=FZn8uU-FNSw&#038;fmt=18">//www.youtube.com/watch?v=FZn8uU-FNSw</a></p> <p>Born on this day in 1921 tenor<strong> Franco Corelli</strong>.</p> <p>On this day in 1876 Ponchelli&#8217;s <em>La Gioconda </em>premiered in Milan</p> <p><a href="//www.youtube.com/watch?v=fxcHfYsP2Y0&#038;fmt=18">//www.youtube.com/watch?v=fxcHfYsP2Y0</a></p> <p>Birthday anniversaries of conductors <strong>Adrian Boult</strong> (1889) and <strong>Josef Krips</strong> (1902); tenors<strong> Raoul Jobin</strong> (1906), <strong>Paul Kuen</strong> (1910) and <strong>Walter Raffeiner</strong> (1947); bass-baritone <strong>Walter Berry</strong> (1929); baritone <strong>John Reardon</strong> (1930) and soprano<strong> Sabine Hass</strong> (1949).</p> <p>Happy birthday to erstwhile <em>parterre box</em> <a href="https://parterre.com/author/joel-rozen/">scribe</a> <strong>Joel Rozen</strong>.</p> Finale 28 – Das Rheingold https://medicine-opera.com/2021/04/finale-28-das-rheingold/ Neil Kurtzman urn:uuid:ac5e797b-7306-6d69-6dba-aeab0731e046 Thu, 08 Apr 2021 01:00:20 +0000 Wagner wrote the librettos for the four Ring operas in reverse order. The music, however, was composed in the correct sequence. Das Rheingold lays the foundation for the long slog ahead. As it&#8217;s all in one act, allowing no chance for a bathroom break, it lasts only 2 hours and 20 minutes, give or take... <p>Wagner wrote the librettos for the four Ring operas in reverse order. The music, however, was composed in the correct sequence. <em>Das Rheingold</em> lays the foundation for the long slog ahead. As it&#8217;s all in one act, allowing no chance for a bathroom break, it lasts only 2 hours and 20 minutes, give or take a bit depending on who&#8217;s waving the baton.</p> <p>Wagner considered the work as prologue for the three succeeding operas. Basically, <em>Rheingold</em> sets in motion the disastrous consequences of buying more house than you can afford, of incurring a debt that you cannot hope to pay off, and contracting with a builder whose price is fluid. It can be seen as a metaphor for the world&#8217;s current economic malaise. If Wotan had settled for an ordinary McMansion the three remaining operas would have been superfluous. But the king of the gods insisted on bringing the whole family along and housing them in more than splendid surroundings, thus setting in motion the three bladder busters that followed.</p> <p>The finale of the opera, The Entry of the Gods into Valhalla, depicts the grandeur of taking possession of overpriced digs as well as the apprehension engendered by the realization that there&#8217;s a huge mortgage hanging over the place that contains a lot of killer clauses. But at least for the moment things are grand.</p> <p>This excerpt is from a 1990 performance with James Morris as Wotan and the late James Levine conducting the Met orchestra.</p> <figure class="wp-block-video"><video controls src="https://medicine-opera.com/wp-content/uploads/2021/04/Das-Rheingold-Entry-of-the-Gods-into-Valhalla-1990.mp4"></video></figure> <p></p> Eugene Onegin https://parterre.com/2021/04/07/eugene-onegin-10/ parterre box urn:uuid:f9215ba1-da54-cff0-85ee-3e5ba5f5c4cb Wed, 07 Apr 2021 22:02:32 +0000 <p><a href="https://parterre.com/2021/04/07/eugene-onegin-10/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2020/08/onegin-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2020/08/onegin-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2020/08/onegin-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2020/08/onegin-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2020/08/onegin-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2020/08/onegin-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Anna Netrebko, Elena Maximova, Alexey Dolgov, Peter Mattei, and Stefan Kocan, conducted by Robin Ticciati. Production by Deborah Warner. From April 22, 2017.</p> <p><img class="aligncenter size-full wp-image-71581" src="https://parterre.com/wp-content/uploads/2020/08/onegin-720.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2020/08/onegin-720.jpg 720w, https://parterre.com/wp-content/uploads/2020/08/onegin-720-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2020/08/onegin-720-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" target="_blank" rel="noopener">begin at 7:30 PM</a>.</p> <p>Photo by Ken Howard/Metropolitan Opera</p> Our god is an awesome god https://parterre.com/2021/04/07/our-god-is-an-awesome-god/ parterre box urn:uuid:6baa6f34-4da2-6691-6bfc-095b14262a3b Wed, 07 Apr 2021 20:51:37 +0000 <p><a href="https://parterre.com/2021/04/07/our-god-is-an-awesome-god/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/henson-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/henson-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/henson-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/henson-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/henson-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/henson-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Our Own <a href="https://parterre.com/author/henson-keys/"><strong>Henson Keys</strong></a> will make his opera debut in the role of Wotan in Lyric Opera of Chicago&#8217;s <em>Twilight: Gods</em>, directed by <strong>Yuval Sharon</strong> and starring <strong>Christine Goerke</strong>.</p> <p><img class="aligncenter size-full wp-image-76137" src="https://parterre.com/wp-content/uploads/2021/04/henson-inside.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2021/04/henson-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/henson-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/henson-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />The sold-out production runs April 28 through May 2. A produced film of this unique performance experience will be released during Summer 2021 at no cost to the public. [<a href="https://www.lyricopera.org/shows/upcoming/2020-21/twilight-gods/" target="_blank" rel="noopener">Lyric Opera of Chicago</a>]</p> 10 Online Ballet Performances to Catch in April https://www.pointemagazine.com/online-ballet-performances-april-2021-2651382925.html Pointe Magazine urn:uuid:135ad4cf-24b9-c64e-d007-262e589ddf91 Wed, 07 Apr 2021 19:09:48 +0000 <img src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAyNjc2OC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY3MzU3MTE1Mn0.1OzWhU6YxwAhJkD9lJn4RzMuslTUKevPMYT2ThxhKVc/img.jpg?width=2400&coordinates=310%2C143%2C3%2C133&height=1200"/><br/><br/><p>Spring is in full bloom with another round of exciting digital dance offerings. This month, companies across the country are releasing world premieres, season finales, artistic collaborations and more. We've rounded up some highlights below.</p><hr/><h3>New York City Ballet</h3><br/><p>On April 8, New York City Ballet presents <em>When We Fell, </em>a world premiere by Kyle Abraham starring company dancers <a href="https://www.pointemagazine.com/taylor-stanley-nycb-newest-principal-2412884298.html" target="_self">Taylor Stanley</a>, <a href="https://www.pointemagazine.com/new-york-city-ballet-india-bradley-2648133757.html" target="_self">India Bradley</a>, Jonathan Fahoury, Christopher Grant, Claire Kretzschmar, <a href="https://www.pointemagazine.com/lauren-lovette-dance-bag-2640876819.html" target="_self">Lauren Lovette</a>, KJ Takahashi and Sebastian Villarini-Velez. Filmed by cinematographer <a href="http://ryanmariehelfant.com/selected-films" rel="noopener noreferrer" target="_blank">Ryan Marie Helfant</a> and shot on the promenade and stage of the David H. Koch Theater, <em>When We Fell</em> celebrates a return to the Lincoln Center grounds after a period of emptiness. The film will remain available for free through April 22 via the NYCB <a href="https://www.nycballet.com/season-and-tickets/digital-season-info/kyle-abraham-world-premiere/" rel="noopener noreferrer" target="_blank">website</a> and <a href="https://www.youtube.com/nycballet" rel="noopener noreferrer" target="_blank">YouTube channel</a>.</p><h3>Ballet Austin</h3><br/><img class="rm-lazyloadable-image rm-shortcode" data-rm-shortcode-id="dfc67aa0ba5b39acbb145dfa90db55cd" data-rm-shortcode-name="rebelmouse-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNjAyNjk3Ny9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzMzM5NzU0MH0.3GDBMH3cJRggfNEF6khMCL9bry2RiswxYatdOwC-Nu8/img.jpg?width=980" height="1080" id="fb1dd" lazy-loadable="true" width="1920"/><p>Later this month, Ballet Austin artistic director<a href="https://www.pointemagazine.com/stephen-mills-ballet-austin-courage-2555662304.html" target="_self"> Stephen Mills</a> premieres his <em>PRELUDES/BEGINNINGS</em>, a new dance film celebrating Austin's historic Scottish Rite Theater and the "ghost light" tradition. Set to Chopin's <em>24 Preludes</em>, the piece reflects on the ghostly nature of an empty stage and considers historical parallels between the 1918 Spanish influenza pandemic and the present-day coronavirus. Audiences can sign up to receive free access to the film April 15–25 via the company <a href="https://balletaustin.org/performances/2021-preludes-beginnings/" rel="noopener noreferrer" target="_blank">website</a>.</p><h3>Seattle Dance Collective</h3><br/><iframe class="rm-shortcode" data-rm-shortcode-id="0372f4ca47937b390a83883692465ab5" frameborder="0" height="480" scrolling="no" src="https://player.vimeo.com/video/528697666" width="100%"></iframe><p>NYCB principal <a href="https://www.pointemagazine.com/sara-mearns-quarantine-2645896474.html" target="_self">Sara Mearns</a> stars as Juliet in<a href="https://www.seattledancecollective.org/gallop-apace" rel="noopener noreferrer" target="_blank"> </a><a href="https://www.seattledancecollective.org/gallop-apace" rel="noopener noreferrer" target="_blank"><em>Gallop Apace</em></a>, a new dance film presented by <a href="https://www.seattledancecollective.org/" rel="noopener noreferrer" target="_blank">Seattle Dance Collective</a> running April 15–22. Directed and choreographed by Bobbi Jene Smith and Or Schraiber, the piece explores strength, transition and womanhood and is inspired by an often overlooked scene from Shakespeare's <em>Romeo and Juliet</em>. Tickets are $5; go to the SDC <a href="https://www.seattledancecollective.org/gallop-apace" rel="noopener noreferrer" target="_blank">website</a> for more details.</p><h3>Post:ballet</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="01eb37cf1903d10659c967603a646227" 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/AnLrCUVKib0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>On April 1, San Francisco–based contemporary ballet company <a href="https://www.postballet.org/" rel="noopener noreferrer" target="_blank">Post:ballet</a> released a short dance film reimagining Act II of <em>Swan Lake. </em>Shot along the San Francisco Bay in view of the Golden Gate Bridge, company dancers waltz and jeté across the sand in artistic director and founder Robert Dekkers' 15-minute contemporary take on the classic ballet. You can watch Post:ballet's <em>Swan Lake </em>for free via the company's <a href="https://www.youtube.com/watch?v=nIMAMlWp17g" rel="noopener noreferrer" target="_blank">YouTube channel</a>.</p><h3>San Francisco Ballet</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="33a6fbf7597da338133f61c3f13667cf" 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/zX2MZTAeIy8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Now through April 21, San Francisco Ballet is streaming George Balanchine's three-act <em>Jewels</em>. While "Rubies" and "Diamonds" is archival footage, the opening ballet "Emeralds" is a new performance capture with role debuts by <a href="https://www.pointemagazine.com/misa-kuranaga-and-sasha-mukhamedov-are-joining-san-francisco-ballet-2638908613.html" target="_self">Misa Kuranaga</a>, Angelo Greco, <a href="https://www.pointemagazine.com/misa-kuranaga-and-sasha-mukhamedov-are-joining-san-francisco-ballet-2638908613.html" target="_self">Sasha Mukhamedov</a> and Aaron Robison. For $29, viewers can purchase 72-hour on-demand access to the stream via the <a href="https://donate2.app/hz9ltQ" rel="noopener noreferrer" target="_blank">SFB website</a>.</p><h3>Houston Ballet</h3><br/><p>Houston Ballet continues its eight-week film program In Good Company, which premiered on March 10, through the end of this month. Each film features choreography by artistic director Stanton Welch and music by the Canadian acoustic quartet <a href="https://www.thedeadsouth.com/" rel="noopener noreferrer" target="_blank">The Dead South</a>. The program releases one new video each week on the company's <a href="https://www.houstonballet.org/seasontickets/2020-2021-season/in-good-company/?id=22675" rel="noopener noreferrer" target="_blank">website</a>, <a href="https://www.youtube.com/user/houstonballet/videos" rel="noopener noreferrer" target="_blank">YouTube channel</a> and social media pages, where online viewers can access them for free. Check out the released films <a href="https://www.youtube.com/watch?v=Yz0-so9Olgc" rel="noopener noreferrer" target="_blank"><em>Honey You</em></a>,<a href="https://www.youtube.com/watch?v=7qeE_FzeSx8" rel="noopener noreferrer" target="_blank"> </a><a href="https://www.youtube.com/watch?v=7qeE_FzeSx8" rel="noopener noreferrer" target="_blank"><em>Achilles</em></a>, <a href="https://www.youtube.com/watch?v=-bSfQe8GQ6s" rel="noopener noreferrer" target="_blank"><em>The Recap</em></a>, <a href="https://www.youtube.com/watch?v=bd7rBYhla8I" rel="noopener noreferrer" target="_blank"><em>Long Gone</em></a><em> </em>and <a href="https://www.youtube.com/watch?v=Lioc1lAas5M" rel="noopener noreferrer" target="_blank"><em>That Bastard Son</em></a><em> </em>now.</p><h3>Colorado Ballet</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="0e81e8ef76ffac90498c94e74f70fac3" 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/Yn-SS2652Fw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p><a href="https://www.coloradoballet.org/" rel="noopener noreferrer" target="_blank">Colorado Ballet </a>wraps up its 2020–21 season with its online premiere of <a href="https://www.lonetreeartscenter.org/showinfo.php?id=1278" rel="noopener noreferrer" target="_blank">Through It All</a>, a program of classical and contemporary repertoire that includes new works created by company dancers. While the program marks Colorado Ballet's return to the live stage, all six performances April 10–11 and 17–18 will be livestreamed in real time. Viewers can purchase virtual tickets up to one hour before the performance for $25 per individual or $40 per household via the company <a href="https://www.lonetreeartscenter.org/showinfo.php?id=1278" rel="noopener noreferrer" target="_blank">website</a>.</p><h3>Dayton Ballet</h3><br/><p>Dayton Ballet presents a condensed production of artistic director Karen Russo Burke's <em>Cinderella </em>at the Victoria Theatre April 23–25. The 3 pm EDT performance on April 24 will also be livestreamed and remain available for on-demand viewing through June 30. Viewers can purchase $25 tickets for online access via the Dayton Performing Arts Alliance <a href="https://daytonperformingarts.org/stream/cinderella/" rel="noopener noreferrer" target="_blank">website</a>.</p><h3>Miami City Ballet and Paul Taylor Dance Company</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="78163d636c4ecb607f2817890250514f" 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/6IdqV2_jQN8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>On April 1, Miami City Ballet and Paul Taylor Dance Company premiered the new collaborative virtual performance <em>ViVa</em>, which celebrates the joint history of ballet and modern dance. Choreographed by Amy Hall Garner and set to music by Vivaldi, the piece travels from Miami's Lincoln Road to Manhattan's Lower East Side and features MCB soloist <a href="https://www.pointemagazine.com/jerome-robbins-im-old-fashioned-2644667384.html" target="_self">Samantha Hope Galler</a> and PTDC dancer John Harnage. <em>ViVa</em> will remain online permanently for free via <a href="https://www.miamicityballet.org/viva" rel="noopener noreferrer" target="_blank">MCB</a>'s and <a href="https://www.ptamd.org/viva/" rel="noopener noreferrer" target="_blank">PTDC</a>'s websites and social media channels.</p><h3>Pennsylvania Ballet</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="a083070de2e0c931d024d91c7423faff" 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/789lTfgs8CI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Pennsylvania Ballet continues its digital spring season with its second installment,<em> </em>Resilience, streaming April 29–May 5. The program features a solo, by principal Jermel Johnson, from Dwight Rhoden's <em>And So It Is...</em>, as well as performances of George Balanchine's <em>Allegro Brillante, </em>Christopher Wheeldon's <em>Polyphonia</em> and Angel Corella's <em>Raymonda Suite. </em>Viewers can purchase online access to season installments for $25 each via the company <a href="https://paballet.org/spring-2021/" rel="noopener noreferrer" target="_blank">website</a>.</p> Threepenny Submarine https://operaramblings.blog/2021/04/07/threepenny-submarine/ operaramblings urn:uuid:1fdd29a3-9e3d-214a-8644-af3f55ee572f Wed, 07 Apr 2021 16:45:02 +0000 Rachel Krehm and co&#8217;s latest project Threepenny Submarine is now live on the Opera 5 Youtube channel.  It&#8217;s a collaboration between Opera 5 and Gazelle Automations and features two (puppet) singers on a quest in a submarine.  It stars Caitlin &#8230; <a href="https://operaramblings.blog/2021/04/07/threepenny-submarine/">Continue reading <span class="meta-nav">&#8594;</span></a> <p>Rachel Krehm and co&#8217;s latest project <em>Threepenny Submarine</em> is now live on the Opera 5 Youtube channel.  It&#8217;s a collaboration between Opera 5 and Gazelle Automations and features two (puppet) singers on a quest in a submarine.  It stars Caitlin Wood as a Rossini singing cockatiel with a tidiness fetish, which doesn&#8217;t seem terribly like Cait (at least the tidiness thing.  Of course she can sing Rossini), and Rachel Krehm as a messy Wagnerian vixen, which sounds about right.  It&#8217;s designed for kids but it&#8217;s quite funny and very cute and should work for kids of all ages.</p> <p><img data-attachment-id="29682" data-permalink="https://operaramblings.blog/2021/04/07/threepenny-submarine/threepennysubmarine/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/threepennysubmarine.png" data-orig-size="580,292" 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;0&quot;}" data-image-title="threepennysubmarine" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/threepennysubmarine.png?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/threepennysubmarine.png?w=580" class="size-full wp-image-29682 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/threepennysubmarine.png?w=584" alt="threepennysubmarine" srcset="https://operaramblings.files.wordpress.com/2021/04/threepennysubmarine.png 580w, https://operaramblings.files.wordpress.com/2021/04/threepennysubmarine.png?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/threepennysubmarine.png?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>Also on the tubes, The Crossing have produced <a href="https://www.youtube.com/watch?v=EN27OUUNtec&amp;list=RDEN27OUUNtec&amp;start_radio=1">an animated watercolour video</a> of one of the tracks from their recent recording of Gavin Bryars&#8217; <a href="https://operaramblings.blog/2021/03/05/a-native-hill/"><em>A Native Hill</em></a>.</p> Fidelio https://parterre.com/2021/04/07/fidelio-3/ parterre box urn:uuid:7ae605f2-554f-e739-240d-8bd98693310b Wed, 07 Apr 2021 14:00:09 +0000 <p><a href="https://parterre.com/2021/04/07/fidelio-3/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/fidelio-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/fidelio-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/fidelio-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/fidelio-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/fidelio-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/fidelio-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Peter Schneider conducts Klaus Florian Vogt, Anja Kampe, Evgeny Nikitin and Stephen Milling.</p> <p><img src="https://parterre.com/wp-content/uploads/2021/04/fidelio-inside.jpg" alt="" width="720" height="405" class="aligncenter size-full wp-image-76128" srcset="https://parterre.com/wp-content/uploads/2021/04/fidelio-inside.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/fidelio-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/fidelio-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="https://play.wiener-staatsoper.at/event/6d1ef7a4-32fa-4d28-ae87-26eb4ec4abd6" rel="noopener" target="_blank">begin at 1:00 PM</a>.</p> Kew Gardens: Wellbeing programme launched https://www.balletnews.co.uk/kew-gardens-wellbeing-programme-launched/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:9a6e2442-37e8-9491-ed58-8cda323afba2 Wed, 07 Apr 2021 12:36:36 +0000 Unwind with new Kew Gardens Wellbeing programme Rare chance to cycle through UNESCO World Heritage siteFitness Boot camp with beautiful backdropYoga in world’s largest Victorian GlasshousePilates in...<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/~4/5HkNhQRl8oo" height="1" width="1" alt=""/> Hush now, don’t explain https://parterre.com/2021/04/07/hush-now-dont-explain/ parterre box urn:uuid:6a618d48-8fd0-a987-e1b1-34bf693430c2 Wed, 07 Apr 2021 12:00:38 +0000 <p><a href="https://parterre.com/2021/04/07/hush-now-dont-explain/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/billie-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/billie-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/billie-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/billie-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/billie-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/billie-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Born on this day in 1915 singer, songwriter and actress <strong>Billie Holiday</strong>.</p> <p><a href="//www.youtube.com/watch?v=0MWRheQtvmA&#038;fmt=18">//www.youtube.com/watch?v=0MWRheQtvmA</a></p> <p>On this day in 1975 <em>Beverly Sills </em>made her official Metropolitan Opera debut in Rossini&#8217;s <em>Siege of Corinth</em>.</p> <p><a href="//www.youtube.com/watch?v=pyJJxa9nFO4&#038;fmt=18">//www.youtube.com/watch?v=pyJJxa9nFO4</a></p> <p>Manuela Hoelterhoff in <em>The Wall Street Journal</em>:</p> <blockquote><p>It finally happened. Beverly Sills made her Metropolitan Opera debut as Pamira in a new production of Rossini&#8217;s obscure &#8220;L&#8217;Assedio di Corinto&#8221; (&#8220;The Siege of Corinth&#8221;) especially mounted for the event.</p> <p>The audience became frenetic even before she had completely materialized on stage, as if to greet a long lost daughter now returning from years abroad in foreign opera houses. In actuality Ms. Sills has been a hundred yards away at the New York City Opera for most of her singing life and this was merely the gracious conciliatory gesture from her to the Met which under a previous administration had either ignored her or offered her such silly roles as Martha. Most people in the sold-out house had bought their tickets a year ago when the event was first announced. Others had queued up all night for standing room tickets in order to hear Ms. Sills and a cast which included Justino Diaz (Mometto), Harry Theyard (Cleomene), and Shirley Verrett in the &#8220;travesti&#8221; or trouser role of Necole, Pamira&#8217;s suitor.</p> <p>Despite a recent recording from Angel with the same principals the opera no doubt was unknown to most present. At one point mezzo soprano Verrett found herself trying to outshout a screaming audience which thought she had finished her third act aria, when half still remained. Like most serious works by Gioacchino Rossini, the Siege has hardly been heard in the 20th Century (a rare revival at La Scala in 1969 introduced Beverly Sills to European audiences).</p> <p>The libretto focuses on the 15th Century struggle between the courageous Greeks and the cruel Turks and thus capitalized on the contemporary concern with the Greek war of independence. In the 1820s Greek martyrs were favorite subjects for painters and poets such as Delacroix and Byron. Rossini even conducted a benefit on their behalf.</p> <p>So the &#8220;Siege&#8221; was very popular for a brief decade. Then it disappeared. What was heard at La Scala a few years back, and now in New York, is a conflation of this work and an early version called &#8220;Maometto,&#8221; largely put together by conductor Thomas Schippers. The resulting score strikes a rather successful balance between the trivial and the majestic. It moves at a slow pace but there are beautiful parts such as the wedding ceremony with harp accompaniment.</p> <p>The arias are vocal extravaganzas that would terrorize all but a few singers today. A particularly demanding example is Necole&#8217;s &#8220;E d&#8217;un trono alla speranza&#8221; which requires high Cs and very difficult coloratura passages from the mezzo soprano. Shirley Verrett tore into it with commendable sang froid. I don&#8217;t recall ever hearing anything like it. Furthermore, she looked surprisingly well in male attire and instilled even her stylized movements with passion. Both Harry Theyard and Justino Diaz were also up to the technical demands of their intricate parts. Conductor Schippers&#8217; beat was crisp and exact; his tempi were well-placed and never at odds with the singers.</p> <p>But what of Pamira, the reason we had presumably all gathered? She has two arias, one at the beginning of the opera and one at the end which erupts into a wonderfully absurd technical display-&#8220;Parmi vererlo.&#8221; And Miss Sills, for all who may have worried a bit, aware of her recent illness, sang it and much of the preceding music with the perfectly phrased abandon one expects from her. In the beginning her voice was not quite as pure as it usually is, but the most difficult passages were done with flourish and the top is still secure.</p> <p>Thus the role was vocally satisfying for both soprano and audience. Dramatically it is dead. Pamira is one of opera&#8217;s less fascinating heroines. When she finally stabs herself for the usual reasons of &#8220;l&#8217;onore&#8221; and &#8220;patria,&#8221; muddled concepts that have exacted the greatest opera fatalities, nobody cares all that much. This less the fault of Miss Sills, who is appealing even when inert, but that of director Sandro Sequi&#8217;s static approach to the libretto. He has a gift for tableau-the final collection of Corinthian ladies standing in the catacombs was effective. But whenever anyone had to move, especially the chorus, it was either uninteresting or embarrassing. The final massacre was so inept, the audience laughed mercilessly.</p> <p>Both Mr. Sequi and designer Nicola Benois have a curious antiquarian approach. The motivating idea was to re-create (not even re-interpret!) the La Scala settings of the 19th Century premiere. This curious idea is being presented as a widely revolutionary concept. Hardly. The effect created is that of a museum piece.</p> <p>The remaining performances at the Met are sold out, but the Angel recording should satiate all but the compulsive opera-goer. &#8220;L&#8217;Assedio di Corinto&#8221; will also be part of the Metropolitan Opera spring tour which begins in a few weeks.</p></blockquote> <p>On this day in 1949 Rodgers and Hammerstein’s <em>South Pacific</em> opened on Broadway.</p> Queensland Ballet brings an enchanted tale to life https://www.balletnews.co.uk/queensland-ballet-brings-an-enchanted-tale-to-life/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:ba023de7-18e1-77e1-ef9f-7f7e388b44f9 Wed, 07 Apr 2021 08:00:00 +0000 photo : David Kelly A dark yet familiar fairy-tale beloved by many, audiences will be spellbound by&#160;Queensland Ballet’s&#160;The Sleeping Beauty&#160;opening&#160;on June 4&#160;at Queensland...<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/VBD_zOZwVLs" height="1" width="1" alt=""/> Keyboard for two tonight ! Four amazing so 'young' hands! http://singerforallseasons.blogspot.com/2021/04/keyboard-for-two-tonight-four-amazing.html singer for all seasons urn:uuid:ab2522cf-0f18-134d-d087-29ba8b5606a2 Tue, 06 Apr 2021 23:20:00 +0000 <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qVZxE4zhnW4/YGzjqAXTLNI/AAAAAAAAHEc/WMppGpEzfdciPpXFk_GvyUyN8YSr9r47gCLcBGAsYHQ/s1440/Screenshot%2B2021-04-06%2Bat%2B21.24.39.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1440" src="https://1.bp.blogspot.com/-qVZxE4zhnW4/YGzjqAXTLNI/AAAAAAAAHEc/WMppGpEzfdciPpXFk_GvyUyN8YSr9r47gCLcBGAsYHQ/s320/Screenshot%2B2021-04-06%2Bat%2B21.24.39.png" width="320" /></a></div><br /><br /><br /><p></p><p>&nbsp;Martha and Daniel are almost twins ... Daniel Barenboim is roughly two years younger than Martha Argerich, but playing tonight shoulder to shoulder on the same keyboard&nbsp; on&nbsp; the rather dark scene&nbsp; of 'le Grand théâtre de Provence 'without a live audience but for thousands of on line followers, looked so intimate and casual: almost like two very gifted talented always young musicians having a date with the three composers of their evening, Mozart, Debussy and Bizet, with their&nbsp; magical hands and a unique piano keyboard to share and create a unique sound with their combined hearts and souls.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-449Fidp-6NA/YGziE1WOOnI/AAAAAAAAHEM/h7wzmMLIYZEI3edd0uuCL9U7rshLCqICwCLcBGAsYHQ/s1440/Screenshot%2B2021-04-06%2Bat%2B21.46.22.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1440" src="https://1.bp.blogspot.com/-449Fidp-6NA/YGziE1WOOnI/AAAAAAAAHEM/h7wzmMLIYZEI3edd0uuCL9U7rshLCqICwCLcBGAsYHQ/s320/Screenshot%2B2021-04-06%2Bat%2B21.46.22.png" width="320" /></a></div><br />If I have one moment to remember, it is the second one with Claude Debussy&nbsp; and his "Epigraphes antiques ' six 'poems' without words but&nbsp; music,&nbsp; except for the titles &nbsp; all&nbsp; beginning with 'Pour' for ... a purpose,&nbsp; each of them opening on&nbsp; a&nbsp; vast imaginary world.&nbsp;<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-85ibg7QFe18/YGzifnLFzGI/AAAAAAAAHEU/rVkeznFtwR47qV05XIecccBc7iiOR3FoACLcBGAsYHQ/s1440/Screenshot%2B2021-04-06%2Bat%2B21.31.38.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1440" src="https://1.bp.blogspot.com/-85ibg7QFe18/YGzifnLFzGI/AAAAAAAAHEU/rVkeznFtwR47qV05XIecccBc7iiOR3FoACLcBGAsYHQ/s320/Screenshot%2B2021-04-06%2Bat%2B21.31.38.png" width="320" /></a></div><br />&nbsp;It was fascinating to see both players creating these delicate&nbsp; musical poems : it reminded me of a comment I readt : Marcel Proust who said once that if language had not been invented music would have been our way of expression. I really felt each piece was&nbsp; a poem with its own atmosphere created by these wonderful musicians. They were looking so passionate&nbsp; in their special world together ! their weary&nbsp; hands seemed so&nbsp; alert and so young as if age did not count ... had no weight on their agility...it looked so easy...and yet for the two of them how many hours and hours of practice to create this unique sound&nbsp; with four hands on the piano with the&nbsp; same intensity and volume, not that easy on a piano? <p></p><p>What my memory selected was the 6th poem ' Pour remercier la pluie du matin' It was so delicate and so Asian to my ears ... my only wish was to find it on youtube to keep it&nbsp; even more in mind ... and I found it...it was loaded some years ago by the <a href="https://www.youtube.com/watch?v=IN07Nl9fjhw">couple of artists </a>who played it and there is the picture&nbsp; of the CD cover with a very interesting selection of composers they recorded together.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5rSKRFWvpQU/YGzuPFzcECI/AAAAAAAAHFU/fnLbeNrfGIAoh0ljiMxxmIQglyUvg5MeACLcBGAsYHQ/s649/Screenshot%2B2021-04-07%2Bat%2B01.23.44.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="538" data-original-width="649" src="https://1.bp.blogspot.com/-5rSKRFWvpQU/YGzuPFzcECI/AAAAAAAAHFU/fnLbeNrfGIAoh0ljiMxxmIQglyUvg5MeACLcBGAsYHQ/s320/Screenshot%2B2021-04-07%2Bat%2B01.23.44.png" width="320" /></a></div><br /><br /><p></p><p>The Bizet part was not so surprising and captivating for me. As for the Mozart sonata&nbsp; K521 which was opening the concert,&nbsp; it was not a discovery and&nbsp; a real pleasure to follow tonight with two tremendous musicians who respect, know and appreciate each other so much and for such a long life time . (In an interview on Radio Classique before the concert Daniel Barenboim explained he has known Martha since 1949 when they were both children&nbsp; and practicing the piano almost with the same teacher) He said Martha was his oldest friend and his 'love' in the music world ... not in life!&nbsp; he made a point in explaining that so simply. I was moved by this confession ! In fact I could feel&nbsp; when watching them tonight that they had a huge musical intimacy while playing together.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-yA7EFtbYnGM/YGzpQrCHk3I/AAAAAAAAHE8/mPhjqhu9h-IGI8T5hRuNSNddVO2S6XO3QCLcBGAsYHQ/s1440/Screenshot%2B2021-04-06%2Bat%2B21.46.54.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1440" height="303" src="https://1.bp.blogspot.com/-yA7EFtbYnGM/YGzpQrCHk3I/AAAAAAAAHE8/mPhjqhu9h-IGI8T5hRuNSNddVO2S6XO3QCLcBGAsYHQ/w484-h303/Screenshot%2B2021-04-06%2Bat%2B21.46.54.png" width="484" /></a></div>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Last chords ending Le bal de Bizet&nbsp; and the concert&nbsp;&nbsp; plus a smile from Martha !&nbsp;&nbsp;&nbsp;&nbsp; <br /><div class="separator" style="clear: both; text-align: center;">&nbsp;<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ASxRDyhOC2k/YGzp645tCPI/AAAAAAAAHFM/fFSwtYcrS1wzDU-qE6m2wzvSblhX42lAwCLcBGAsYHQ/s1440/Screenshot%2B2021-04-06%2Bat%2B21.47.00.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1440" src="https://1.bp.blogspot.com/-ASxRDyhOC2k/YGzp645tCPI/AAAAAAAAHFM/fFSwtYcrS1wzDU-qE6m2wzvSblhX42lAwCLcBGAsYHQ/s320/Screenshot%2B2021-04-06%2Bat%2B21.47.00.png" width="320" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;">&nbsp;</div><br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br /><br /><p></p> Rigoletto https://parterre.com/2021/04/06/rigoletto-12/ parterre box urn:uuid:c5be73d1-7084-cc68-9fd7-c301f781a752 Tue, 06 Apr 2021 21:43:32 +0000 <p><a href="https://parterre.com/2021/04/06/rigoletto-12/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2020/08/rigoletto-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2020/08/rigoletto-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2020/08/rigoletto-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2020/08/rigoletto-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2020/08/rigoletto-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2020/08/rigoletto-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Streaming and discussion begin at 7:30 PM. Photo: Met Archives</p> <p><img src="https://parterre.com/wp-content/uploads/2020/08/rigoletto-inside.jpg" alt="" width="720" height="405" class="aligncenter size-full wp-image-71443" srcset="https://parterre.com/wp-content/uploads/2020/08/rigoletto-inside.jpg 720w, https://parterre.com/wp-content/uploads/2020/08/rigoletto-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2020/08/rigoletto-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion begin at 7:30 PM.</p> <p>Photo: Met Archives</p> Aix Easter Festival : On line concert tonight ! Martha Argerich and Daniel Barenboim "Pianos"! http://singerforallseasons.blogspot.com/2021/04/aix-easter-festival-on-line-concert.html singer for all seasons urn:uuid:1b10a313-6749-2fa2-7034-1bd35193bdbd Tue, 06 Apr 2021 17:03:00 +0000 <div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-XzBdPTXI-Tw/YGyVL-bIZOI/AAAAAAAAHD8/Td8ZSseB9OQEPZtuB8EuDO-mpV7v3keUQCLcBGAsYHQ/s1311/Screenshot%2B2021-04-06%2Bat%2B18.56.15.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="711" data-original-width="1311" src="https://1.bp.blogspot.com/-XzBdPTXI-Tw/YGyVL-bIZOI/AAAAAAAAHD8/Td8ZSseB9OQEPZtuB8EuDO-mpV7v3keUQCLcBGAsYHQ/s320/Screenshot%2B2021-04-06%2Bat%2B18.56.15.png"/></a></div><div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-svf5jjBE2q8/YGyRhaSjvTI/AAAAAAAAHDg/N79mw4X_ogwEyStuSWi6QxUfnkMPwOIHwCLcBGAsYHQ/s1432/Screenshot%2B2021-04-06%2Bat%2B18.42.09.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="584" data-original-width="1432" src="https://1.bp.blogspot.com/-svf5jjBE2q8/YGyRhaSjvTI/AAAAAAAAHDg/N79mw4X_ogwEyStuSWi6QxUfnkMPwOIHwCLcBGAsYHQ/s320/Screenshot%2B2021-04-06%2Bat%2B18.42.09.png"/></a></div> Join Us for a Q&A With Pacific Northwest Ballet's Sarah-Gabrielle Ryan on April 22 https://www.pointemagazine.com/sarah-gabrielle-ryan-2651336379.html Pointe Magazine urn:uuid:760a07dd-7c8f-816c-0dc6-9ce13c6df162 Tue, 06 Apr 2021 15:03:32 +0000 <img src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTk3MDc4NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1NzQ5MjA1M30.E4JTr26qrAiiryEZqyBZgsQ5hyJMMEhJQWdeINt4k0E/img.jpg?width=1200&coordinates=0%2C8%2C0%2C139&height=600"/><br/><br/><p>Simply put, Pacific Northwest Ballet's Sarah-Gabrielle Ryan is a dazzling performer—we couldn't take our eyes off of her when she danced the lead pas de deux from "Rubies" during an online company performance in October. In our <a href="https://www.pointemagazine.com/sarah-gabrielle-ryan-ballet-2650841478.html" target="_blank">March/April digital cover story,</a> PNB artistic director Peter Boal describes the 23-year-old corps member as having a "go-for-broke presence, a gutsiness." We couldn't agree more—and after our photo shoot, we can also say that she's as charming in person as she is onstage. After training in her hometown of Philadelphia, Ryan followed her instincts to Seattle, where she's thriving in exciting roles. </p><p>Now you can have a chance to hear more about Ryan's training and career path, ask for her advice, and much more in our exclusive virtual conversation! <a href="https://us02web.zoom.us/webinar/register/1716176278661/WN_3lyUmrZGRuOmkA0vntbdDQ" target="_blank">Click here</a> to register for free with your questions. Then join us for Q&A with Sarah Gabrielle-Ryan on Thursday, April 22, at 4 pm Eastern/1 pm Pacific.</p><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="ccd9e15ed0fc3adf154571e94844a394" 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/SjAbu7X9oyw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span> Spring break at the COC https://operaramblings.blog/2021/04/06/spring-break-at-the-coc/ operaramblings urn:uuid:2f7210a8-9e05-5ce7-5231-5412a4793d46 Tue, 06 Apr 2021 14:25:11 +0000 The week of April 12th the COC is streaming a series called Exploring New Opera.  It&#8217;s slanted to young audiences and those new to opera and deals with aspects of the in-development piece Fantasma by Ian Cusson and Colleen Murphy.  &#8230; <a href="https://operaramblings.blog/2021/04/06/spring-break-at-the-coc/">Continue reading <span class="meta-nav">&#8594;</span></a> <p>The week of April 12th the COC is streaming a series called <em>Exploring New Opera</em>.  It&#8217;s slanted to young audiences and those new to opera and deals with aspects of the in-development piece <em>Fantasma </em>by Ian Cusson and Colleen Murphy.  It&#8217;s all free and doesn&#8217;t require pre-registration.</p> <p><img data-attachment-id="29675" data-permalink="https://operaramblings.blog/2021/04/06/spring-break-at-the-coc/tanenbaumcentre/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/tanenbaumcentre.jpg" data-orig-size="580,435" 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="tanenbaumcentre" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/tanenbaumcentre.jpg?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/tanenbaumcentre.jpg?w=580" class="size-full wp-image-29675 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/tanenbaumcentre.jpg?w=584" alt="tanenbaumcentre" srcset="https://operaramblings.files.wordpress.com/2021/04/tanenbaumcentre.jpg 580w, https://operaramblings.files.wordpress.com/2021/04/tanenbaumcentre.jpg?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/tanenbaumcentre.jpg?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p><span id="more-29671"></span>The full line up is:</p> <p><strong>Music Making</strong><br /> Monday, April 12 at 2 p.m. ET<br /> <em>Fantasma</em> composer and COC Composer-in-Residence Ian Cusson takes participants through the genesis of the opera’s story and how this translates into his music.</p> <p><strong>From the Performer’s Perspective</strong><br /> Tuesday, April 13 at 2 p.m. ET<br /> COC Ensemble Studio artists Matthew Cairns (tenor) and Alex Soloway (pianist) talk about what it’s like to work with a living composer, and workshopping a new role in an opera.</p> <p>T<strong>he Real World of Props</strong><br /> Wednesday, April 14 at 2 p.m. ET<br /> COC Props Supervisor Wulf Higgins shares a behind-the-scenes look at how the visual world of <em>Fantasma</em> is created and brought to life.</p> <p><strong>Creating the Character</strong><br /> Thursday, April 15 at 2 p.m. ET<br /> Wig &amp; Makeup Supervisor Sharon Ryman and Costume Supervisor Sandra Corazza give a sneak peek at two characters from <em>Fantasma</em>, Ms. Macaroni and Tino the Clown, as well as share some of their quick-change secrets.</p> <p><strong>Staging the Show</strong><br /> Friday, April 16 at 2 p.m. ET<br /> Stage director and dramaturg Julie McIsaac speaks with music therapist Dr. SarahRose Black about her considerations in staging <em>Fantasma</em>, as well as her thoughts on creating an engaging experience for young people from the moment audience members walk in the door.</p> <p>You should be able to find all the streams on the COC&#8217;s Youtube channel with the option for Q&amp;A using Youtube Live following the initial broadcast.</p> Stravinsky demeure https://boulezian.blogspot.com/2021/04/stravinsky-demeure.html Boulezian urn:uuid:5a26e3a0-6bec-5fa5-8237-342926f9c7a1 Tue, 06 Apr 2021 13:36:05 +0000 <div><br /></div> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/su5FJ1wyRSk" title="YouTube video player" width="560"></iframe><p><br /></p><p><span style="font-family: georgia;">On the fiftieth anniversary of the death of Igor Stravinsky. Do any composer's oeuvre and 'voice' take in quite so much of the twentieth century and much else besides, whilst ever remaining itself? <i>Petrushka</i>&nbsp;or <i>Movements</i>? <i>The Rake's Progress</i>&nbsp;or <i>Les Noces? </i>Why choose? Stravinsky did not. And the more one listens, the more they have in common</span>—<span style="font-family: georgia;">until suddenly once again they do not, snarling and glistening in mutual opposition as dialectical as anything in Schoenberg, yet differently, if only for a moment. In <a href="https://www.charleswuorinen.com/compositions/a-reliquary-for-igor-stravinsky/" target="_blank">this 'reliquary'</a>, furnished from fragments Stravinsky had left behind, Charles Wuorinen (re)constructs, varies, laments, and returns: much as Stravinsky himself might have done, and yet not. As one of Stravinsky's greatest interpreters and antagonists famously put it, 'Stravinsky demeure'.&nbsp;</span></p><img src="http://feeds.feedburner.com/~r/Boulezian/~4/mnP8YoP3XSA" height="1" width="1" alt=""/> Sens and sensibility https://parterre.com/2021/04/06/sens-and-sensibility/ parterre box urn:uuid:124a6311-31ed-b5e1-738a-40bffb2e7cd7 Tue, 06 Apr 2021 12:00:10 +0000 <p><a href="https://parterre.com/2021/04/06/sens-and-sensibility/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/cigna-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/cigna-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/cigna-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/cigna-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/cigna-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/cigna-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Born on this day in 1900 soprano <strong>Gina Cigna</strong>.</p> <p><a href="//www.youtube.com/watch?v=1Ocr8mL6_MQ&#038;fmt=18">//www.youtube.com/watch?v=1Ocr8mL6_MQ</a></p> <p>On this day in 1989 soprano <strong>Sumi Jo </strong>made her Metropolitan Opera debut as Gilda.</p> <p><a href="//www.youtube.com/watch?v=zPpda21XprA&#038;fmt=18">//www.youtube.com/watch?v=zPpda21XprA</a></p> <p>Birthday anniversaries of mezzo-soprano <strong>Martha Lipton </strong>(1916), composer<strong> Andrew Imbrie</strong> (1921) and tenor <strong>Juan Lloveras </strong>(1934).</p> Livestream NOVERRE: YOUNG CHOREOGRPAHERS | The Stuttgart Ballet https://www.balletnews.co.uk/livestream-noverre-young-choreogrpahers-the-stuttgart-ballet/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:39fdf20c-183f-3ded-97de-0e895fff3ca0 Tue, 06 Apr 2021 11:36:11 +0000 Timoor Afshar, Jessica Fyfe and David Moore (from left to right)© Roman Novitzky Livestream Noverre:&#160;Young Choreographers Kindly supported by EnBW On Sunday, April 18th&#160;at 6 pm (CET), a...<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/rcSkIUWYyLg" height="1" width="1" alt=""/> Harnoncourt’s Mozart cycle https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/ operaramblings urn:uuid:c1c1fbcc-784c-009b-d7c5-b63d09478069 Tue, 06 Apr 2021 11:18:36 +0000 Back in 2014 Nikolaus Harnoncourt launched a project to present all three Mozart/da Ponte operas, concert style, on the stage of the Theater an der Wien in a single month.  They are now being released on DVD/Blu-ray.  The first is &#8230; <a href="https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/">Continue reading <span class="meta-nav">&#8594;</span></a> <p>Back in 2014 Nikolaus Harnoncourt launched a project to present all three Mozart/da Ponte operas, concert style, on the stage of the Theater an der Wien in a single month.  They are now being released on DVD/Blu-ray.  The first is <em>Le nozze di Figar</em>o and it comes with a 52 minute documentary by Felix Breisach; <em>Nikolaus Harnoncourt &#8211; Between Obsession and Perfection &#8211; part 1.</em></p> <p><img data-attachment-id="29659" data-permalink="https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/1-bed-4/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/1.bed_.png" data-orig-size="580,326" 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;0&quot;}" data-image-title="1.bed" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/1.bed_.png?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/1.bed_.png?w=580" class="size-full wp-image-29659 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/1.bed_.png?w=584" alt="1.bed" srcset="https://operaramblings.files.wordpress.com/2021/04/1.bed_.png 580w, https://operaramblings.files.wordpress.com/2021/04/1.bed_.png?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/1.bed_.png?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p><span id="more-29655"></span>The documentary and the essay in the booklet are really essential viewing/reading because they really do give insight into what conclusions Harnoncourt had come to about performing Mozart in the course of his long and distinguished career.  It also shows how detailed the man was in rehearsal; demanding but not in a dictatorial way.  The main theme of the film is Harnoncourt&#8217;s views on recitative.  To summarize, and over, simplify he believes that historically the recits were performed more like natural speech.  He encourages his singers to use the speech rhythms they would use if they were speaking and makes it clear that pitch values can be altered if necessary.  The accompaniment too is much sparser than usual.  It&#8217;s an interesting effect.  Personally, I like it better than the approach one often hears which is for both singer and harpsichordist to run through the words as fast as possible!  Is it &#8220;authentiic&#8221;?  Harnoncourt thinks so.  I have no idea.</p> <p><img data-attachment-id="29660" data-permalink="https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/2-hiding/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/2.hiding.png" data-orig-size="580,326" 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;0&quot;}" data-image-title="2.hiding" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/2.hiding.png?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/2.hiding.png?w=580" class="size-full wp-image-29660 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/2.hiding.png?w=584" alt="2.hiding" srcset="https://operaramblings.files.wordpress.com/2021/04/2.hiding.png 580w, https://operaramblings.files.wordpress.com/2021/04/2.hiding.png?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/2.hiding.png?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>The performance itself is very interesting.  The back wall of the stage is decorated with portraits and that&#8217;s about it.  There are music stands and the singers sing in concert dress with a few minimal nods to stage directions.  For me, the minimalism effectively concentrates one&#8217;s attention on the music and the characterizations.  As in the other Harnoncourt recording of Figaro that I&#8217;ve seen (<a href="https://operaramblings.blog/2012/02/23/happy-ever-after/">Salzburg 2006</a>), his tempi are very personal; often rather slow.  A good one to listen to here is <em>Voi che sapete</em>.  He&#8217;s also very deliberate and quite incisive.  The entry of the winds, for example, is often a bit startling.  It&#8217;s the Concentus Musicus Wien in the pit so it&#8217;s also very much a period sound.  The overall effect is a bit unnerving.  It&#8217;s a combination of the music and how it&#8217;s performed and Harnoncourt&#8217;s dramatic view of the piece.  He sees it, I think, as a rather sad story about rather unpleasant people which makes it a lot darker than most productions.</p> <p><img data-attachment-id="29661" data-permalink="https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/3-contessa-2/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/3.contessa.png" data-orig-size="580,325" 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;0&quot;}" data-image-title="3.conte(ssa)" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/3.contessa.png?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/3.contessa.png?w=580" class="size-full wp-image-29661 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/3.contessa.png?w=584" alt="3.conte(ssa)" srcset="https://operaramblings.files.wordpress.com/2021/04/3.contessa.png 580w, https://operaramblings.files.wordpress.com/2021/04/3.contessa.png?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/3.contessa.png?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>The singing is really good.  Bo Skovhus is a very good Count.  He has a wide range of registers and uses them to good effect.  Christine Schäfer sings the Countess.  She&#8217;s not a typical sounding Countess.  It&#8217;s not a rich sound but very clean and pure.  It probably won&#8217;t suit everybody but I rather like it.  Andrè Schuen is quite a muscular Figaro with a good emotional range while Mari Eriksmoen&#8217;s Susanna is quite broadly painted.  She gestures wildly rather more than i might prefer but her singing is excellent.  Elisabeth Kulman has a lot of fun as a very knowing, rather mature, Cherubino.  The minor roles are nicely done too.  Ildikó Raimondi makes a surprisingly sympathetic Marcellina.  Mauro Peter doubles as a rather arch Basilio and a st st stuttering Don Curzio.  Peter Kálmán also doubles as Bartolo and Antonio; both to good effect.  Finally, Christina Gansch makes a very appealing Barbarina.</p> <p><img data-attachment-id="29662" data-permalink="https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/4-maestro/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/4.maestro.png" data-orig-size="580,327" 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;0&quot;}" data-image-title="4.maestro" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/4.maestro.png?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/4.maestro.png?w=580" class="size-full wp-image-29662 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/4.maestro.png?w=584" alt="4.maestro" srcset="https://operaramblings.files.wordpress.com/2021/04/4.maestro.png 580w, https://operaramblings.files.wordpress.com/2021/04/4.maestro.png?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/4.maestro.png?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>Then there&#8217;s the Concentus Musicus Wien.  They are, of course, Harnoncourt&#8217;s instrument and the soft strings and incisive winds are very much a factor in this performance.  The chorus is the Arnold Schoenberg Chor who never disappoint in my experience.  As a final comment on the performance, I noticed that applause early on in the piece was quite thin but it became noticeably louder and longer act by act.  I get it.  At first one doesn&#8217;t quite know what to think of what Harnoncourt is doing but he sucks you in to the point where you are wondering why it isn&#8217;t always done this way.</p> <p><img data-attachment-id="29663" data-permalink="https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/5-quintet/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/5.quintet.png" data-orig-size="580,325" 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;0&quot;}" data-image-title="5.quintet" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/5.quintet.png?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/5.quintet.png?w=580" class="size-full wp-image-29663 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/5.quintet.png?w=584" alt="5.quintet" srcset="https://operaramblings.files.wordpress.com/2021/04/5.quintet.png 580w, https://operaramblings.files.wordpress.com/2021/04/5.quintet.png?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/5.quintet.png?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>Technical quality is all good.  Felix Breisach directed both films and &#8220;arranged&#8221; the stage action for the actual performance.  He rightly doesn&#8217;t distract apart from a few close-ups on the man himself which are well justified by the intensity they reveal.  The picture and sound (DTS-HD and 24 bit stereo) on Blu-ray are first class.  Besides the essay, the booklet contains a synopsis and a track listing.  Subtitle options are English, Italian, German, French, Korean and Japanese.</p> <p><img data-attachment-id="29664" data-permalink="https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/6-couples/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/6.couples.png" data-orig-size="580,326" 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;0&quot;}" data-image-title="6.couples" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/6.couples.png?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/6.couples.png?w=580" class="size-full wp-image-29664 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/6.couples.png?w=584" alt="6.couples" srcset="https://operaramblings.files.wordpress.com/2021/04/6.couples.png 580w, https://operaramblings.files.wordpress.com/2021/04/6.couples.png?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/6.couples.png?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> <p>A concert performance, even an extraordinary one, wouldn&#8217;t be most people&#8217;s first choice for a video recording of <em>Le nozze di Figaro</em>.  There are excellent recordings of fully staged performances toto suit all tastes available.  This one is for the person who has seen <em>Figaro</em> many times and is asking themselves is there anything new that I can get out of it.  For me, the answer was a resounding yes and I look forward to seeing the other two operas.  The set is shaping up as a fantastic swan song for one of opera&#8217;s most interesting figures.</p> <p><img data-attachment-id="29665" data-permalink="https://operaramblings.blog/2021/04/06/harnoncourts-mozart-cycle/7-cherubinobarbarina/" data-orig-file="https://operaramblings.files.wordpress.com/2021/04/7.cherubinobarbarina.png" data-orig-size="580,325" 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;0&quot;}" data-image-title="7.cherubinobarbarina" data-image-description="" data-medium-file="https://operaramblings.files.wordpress.com/2021/04/7.cherubinobarbarina.png?w=300" data-large-file="https://operaramblings.files.wordpress.com/2021/04/7.cherubinobarbarina.png?w=580" class="size-full wp-image-29665 aligncenter" src="https://operaramblings.files.wordpress.com/2021/04/7.cherubinobarbarina.png?w=584" alt="7.cherubinobarbarina" srcset="https://operaramblings.files.wordpress.com/2021/04/7.cherubinobarbarina.png 580w, https://operaramblings.files.wordpress.com/2021/04/7.cherubinobarbarina.png?w=150 150w, https://operaramblings.files.wordpress.com/2021/04/7.cherubinobarbarina.png?w=300 300w" sizes="(max-width: 580px) 100vw, 580px" /></p> Faust https://parterre.com/2021/04/05/faust-5/ parterre box urn:uuid:bf4b3e95-0e1e-77aa-70ef-7152ea7e095c Mon, 05 Apr 2021 21:30:45 +0000 <p><a href="https://parterre.com/2021/04/05/faust-5/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/01/faust-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/01/faust-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/01/faust-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/01/faust-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/01/faust-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/01/faust-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Marina Poplavskaya, Jonas Kaufmann, and René Pape, conducted by Yannick Nézet-Séguin. Production by Des McAnuff. From December 10, 2011.</p> <p><img src="https://parterre.com/wp-content/uploads/2020/11/faust-inside-720x405.jpg" alt="" width="720" height="405" class="aligncenter size-large wp-image-73303" srcset="https://parterre.com/wp-content/uploads/2020/11/faust-inside.jpg 720w, https://parterre.com/wp-content/uploads/2020/11/faust-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2020/11/faust-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" rel="noopener" target="_blank">begin at 7:30 PM</a>.</p> <p>Photo: Ken Howard/Metropolitan Opera</p> Britten - Gloriana with Anna Caterina Antonacci (operaonvideo.com) http://npw-opera-concerts.blogspot.com/2021/04/britten-gloriana-with-anna-caterina.html We left at the interval... urn:uuid:2d1bbe21-c93e-a26b-340b-1072498af6c5 Mon, 05 Apr 2021 17:33:00 +0000 <p>I continue to find online things I never knew existed or thought I'd never see again. Today it's Britten's <i>Gloriana</i> starring Anna Caterina Antonacci, which I flew to Madrid to see in 2018.<br /></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-dmpIiOIBCp0/YGtJjOp7cwI/AAAAAAAAEJI/sMQ53QM9vtg_jyggKyLHPEDWDvngUpsuACLcBGAsYHQ/s631/Screenshot%2B2021-04-05%2Bat%2B19.28.14.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="617" data-original-width="631" src="https://1.bp.blogspot.com/-dmpIiOIBCp0/YGtJjOp7cwI/AAAAAAAAEJI/sMQ53QM9vtg_jyggKyLHPEDWDvngUpsuACLcBGAsYHQ/s320/Screenshot%2B2021-04-05%2Bat%2B19.28.14.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Photo: Javier Real</span></td></tr></tbody></table>'As an unusually gripping tragic actress and an unusually subtle singer, Anna Caterina Antonacci has “form” - and a devoted, if discreet, following. As Elizabeth I, she surpassed herself in her personification of the ageing queen, in gait and posture, gestures and facial expressions, and myriad vocal inflections…</p><p>'In terms of volume, she was at her limit in a house the size of the Real. But the point here was not to blast and bludgeon her way through the part, but, through vocal subtlety, as usual, to deliver a convincing portrait of a complex, changing character. This was, physically and vocally, an operatic performance of a kind we rarely get to see. It was a privilege to witness.'</p><p>My account is <i><a href="https://npw-opera-concerts.blogspot.com/2018/04/britten-gloriana.html" target="_blank">here in full</a></i>.</p><p>This is the <i><a href="https://www.operaonvideo.com/gloriana-madrid-2018-antonacci-capalbo-bevan/" target="_blank">link to the video</a></i>.</p> Mortal combat https://parterre.com/2021/04/05/mortal-combat/ parterre box urn:uuid:6332cbb3-6a95-947f-0f18-2478e3918ba3 Mon, 05 Apr 2021 12:00:46 +0000 <p><a href="https://parterre.com/2021/04/05/mortal-combat/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2021/04/aca-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2021/04/aca-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2021/04/aca-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2021/04/aca-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2021/04/aca-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2021/04/aca-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Happy 60th birthday soprano <strong>Anna Caterina Antonacci</strong>.</p> <p><a href="//www.youtube.com/watch?v=Wc-XSdH2aLw&#038;fmt=18">//www.youtube.com/watch?v=Wc-XSdH2aLw</a></p> <p>Born on this day in 1908 conductor and director <strong>Herbert von Karajan</strong>. </p> <p>On this date in 1874 <strong>Johann Strauss Jr</strong>’s <em>Die Fledermaus</em> premiered in Vienna</p> <p><a href="//www.youtube.com/watch?v=sHF5LP53LZY&#038;fmt=18">//www.youtube.com/watch?v=sHF5LP53LZY</a></p> <p>Birthday anniversaries of composers <strong>Louis Spohr</strong> (1784) and <strong>Albert Roussel </strong>(1869), soprano <strong>Eugenia Ratti</strong> (1933) and bass <strong>Keith Engen</strong> (1925).</p> <p>Happy 73rd birthday tenor <strong>Dano Raffanti</strong>.</p> Sofia Coppola to direct film for New York City Ballet’s 2021 Spring Gala https://www.balletnews.co.uk/sofia-coppola-to-direct-film-for-new-york-city-ballets-2021-spring-gala/ Ballet News | Straight from the stage - bringing you ballet insights urn:uuid:3a9399c5-579f-36a6-588e-8cc713168b2d Mon, 05 Apr 2021 10:40:44 +0000 Andrew Scordato and Daniel Applebaum Divertimento No. 15 Choreography George Balanchine © The George Balanchine Trust New York City Ballet Credit Photo: Paul Kolnik The Coppola Film Will be Shot on...<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/B9v8b4lOzro" height="1" width="1" alt=""/> About Us https://www.pointemagazine.com/about-us-2651366000.html Pointe Magazine urn:uuid:aa17e8ec-6f59-6282-4a31-68157cf24bcf Mon, 05 Apr 2021 03:34:47 +0000 <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="416" src="https://www.youtube.com/embed/nkHY3Htnr6g" title="YouTube video player" width="740"> </iframe> <div class="widget__show-more with-primary-color js-keep-reading js-page-view-and-reload-embeds"> <a href="https://www.pointemagazine.com/st/newsletter" style="color:#fff">SIGN UP FOR OUR NEWSLETTERS</a> </div> Tristan und Isolde https://parterre.com/2021/04/04/tristan-und-isolde-6/ parterre box urn:uuid:8a34849a-15e5-7af2-d77c-00b69cba594e Sun, 04 Apr 2021 22:15:59 +0000 <p><a href="https://parterre.com/2021/04/04/tristan-und-isolde-6/"><img width="720" height="245" src="https://parterre.com/wp-content/uploads/2020/10/tristan-header-720x245.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://parterre.com/wp-content/uploads/2020/10/tristan-header-720x245.jpg 720w, https://parterre.com/wp-content/uploads/2020/10/tristan-header-300x102.jpg 300w, https://parterre.com/wp-content/uploads/2020/10/tristan-header-768x262.jpg 768w, https://parterre.com/wp-content/uploads/2020/10/tristan-header-210x72.jpg 210w, https://parterre.com/wp-content/uploads/2020/10/tristan-header.jpg 1100w" sizes="(max-width: 720px) 100vw, 720px" /></a></p><p>Starring Nina Stemme, Ekaterina Gubanova, Stuart Skelton, Evgeny Nikitin, and René Pape, conducted by Sir Simon Rattle. Production by Mariusz Trelinski. From October 8, 2016.</p> <p><img class="aligncenter size-large wp-image-72504" src="https://parterre.com/wp-content/uploads/2020/10/tristan-inside-720x405.jpg" alt="" width="720" height="405" srcset="https://parterre.com/wp-content/uploads/2020/10/tristan-inside.jpg 720w, https://parterre.com/wp-content/uploads/2020/10/tristan-inside-300x169.jpg 300w, https://parterre.com/wp-content/uploads/2020/10/tristan-inside-210x118.jpg 210w" sizes="(max-width: 720px) 100vw, 720px" />Streaming and discussion <a href="http://metopera.org" target="_blank" rel="noopener">begin at 6:30 PM</a>.</p> <p>Photo: Ken Howard / Met Opera</p>