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Hot on the heels of its recent success in presenting the long-overdue posthumous premiere of Erik Chisholm’s one-act opera Simoon at last month’s Cottier Chamber Project series in Glasgow, Music Co-OPERAtive Scotland (or McOpera, as it has become more familiarly known) has just finalised plans for a new opera initiative that will kick off its new season of projects in September.
Classe 1910, Magda Olivero, aveva debuttato negli anni Trenta. Alla fine degli anni Cinquanta aveva anche partecipato alla trasmissione televisiva Il Musichiere, una tappa in una lunghissima carriera fino al Metropolitan Opera House con Tosca nel 1975
Born in Cairo, Ara Guzelimian is the current dean and provost of The Juilliard School. An alumnus of UCLA, he was senior director and artistic advisor at Carnegie Hall and the Ojai Festival, and has contributed pieces to The New York Times, Musical America, and Opera News. This week at the Music@Menlo festival in Atherton, California, Guzelimian discusses the impact and effects of World War II on musical life (8/7) and the extraordinary character of the late pianist and Holocaust survivor, Alice Herz-Sommer (8/8). Below is a transcript of our recent conversation with Dean Ara Guzelimian.
For Weir, the first woman in the position, it means supporting composers and exploring the state of music education. Judith Weir must be the most modest master of the Queen's music in the job's 388-year history.
The Metropolitan Opera, in the middle of labor talks with its unions, reports that its general manager, Peter Gelb, earned a total of $1.8 million in pay and benefits in 2012, and has since taken a pay cut.
This week, in fact, the Royal Opera House will again open its doors to a group of homeless people. They’re not in the foyers and bars, but on the stage, performing in a production of Poulenc’s Dialogue of the Carmelites conducted by Simon Rattle. Next month the Royal Opera’s orchestra and chorus will join the communities who live around its production hub in Thurrock for a performance of Verdi’s Requiem. Engagement and “the public good” are priorities for even the most grandiose of arts institutions like never before. So why is the opera audience proving so stubbornly socially stagnant? I’d point at least one finger in the direction of an unlikely villain that has never really been properly dragged into the elitism debate: the total ineffectualness and inappropriateness of large-scale classical music advertising.
It follows the industry’s favourite communicative norm: conceived by people who already love the art form for people who already love the art form.
Listening to Ethel Smyth's The Wreckers at Bard, I thought, as many have thought before me, of Peter Grimes. The coastal village setting, the counterpoint of church hymns and solo voices, the massed choruses of suspicion and rage, the ostracizing...
High, squeaky notes. Screeching soprano solos. Unintelligible opera divas. There are a slew of stereotypes for how soprano voices sound at the top of their range. Even exceptionally talented singers struggle to be understood when singing high notes. Is it just a matter of technique, or is there something else going on?...
Most of the people in the business who replied to my query about percentages said they believed the percentage of singers earning over $100,000 was far less than 10 percent -- most said between 2 percent and 5 percent.
Is classical music especially antediluvian, or worse than popular culture? No, and I wrote as much in my first essay on the topic. But public articulations of contempt do not make classical music feel particularly welcoming for women and girls. Do I think that classical music is too sophisticated or high-minded for such sexism? No. But as a member of this community, I feel a responsibility to point it out and hook it into larger cultural conversations.
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