Opera. Entertainment for tourists? From this point of view, unfortunately, the genre is increasingly in danger of being reduced to “entertainment for tourists”, a category that already represents a significant part of the audience, especially in arenas. This is a sad prospect, considering that in 2023 the art of opera will be proclaimed an “Intangible Heritage of Humanity” by UNESCO.
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From September 29 to October 13, Baden-Baden will once again be celebrating the work of choreographer legend John Neumeier. At the first three-week-long dance festival in 2024, the curator will be presenting his own works and inviting exciting dance companies into his “World of John Neumeier.”
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According to The Dutch National Opera, “Michieletto has now become one of the most in-demand directors in the world.”
Shows perfectly what The Dutch National Opera DNO’s priorities are all about.
Discordia Hall in Amsterdam. In the area of diversity, the Dutch National Opera is seriously failing. Opera lovers who are attached to a libretto-compliant performance are often called “traditional”. This is nonsense. If a restaurant that serves rice and potatoes decides to serve potatoes only, do we suddenly call rice lovers “traditional restaurant-goers”?
For the so-called “traditional opera lover,” opera is an episodic art form that is best enjoyed when the composer and librettist are unconditionally accepted and respected and no disgusting shenanigans are pulled by the director, such as Die Zauberflöte in Auschwitz or “moving” Aida to Evita Peron’s Peru.
Are we addicted now ? We must also consider the impact of “regietheater” and the fanaticism of “political correctness.” These are two forces that are transforming the world of opera. In the name of “political correctness,” every possible reference to anything that does not conform to the new doctrine is modified or eliminated. We are seeing more and more often “Aida” with light skin, Turandot who avoids any possible reference to China, changes to terms in the libretto considered racist, and so on.
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DNO “Toxic ideology on art”. “Her first major solo decision was to cancel an already booked new performance of Verdi’s Otello because of ‘the progressive understanding that an all-white team, including the performer of Otello, is problematic. This no longer felt right with the current changes in our society … Otello in a contemporary form can only be done in a team of color.’ (…) So a white tenor, in her opinion, cannot play the role of a general from North Africa who becomes jealous of his wife.”
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Roberto Devereux. Elisabetta wordt in de DNO-productie gezongen door Barno Ismatullaeva’s, die haar rol met bewonderenswaardig zelfvertrouwen aanpakte: ze beweegt met gemak tussen registers, heeft een onberispelijke ademtechniek, een fraaie dictie en minzame, afgeronde hoge noten.
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This album of music for lyric voice, clarinet and piano is the work of four new-generation Iranian composers brought together for this unprecedented production. After choosing one of Omar Khayam’s quatrains, each of them composed a piece of music inspired by his favourite text, recreating the universe imbued by these poems that resonate from the depths of time.
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Based on an ancient tale from pre-Islamic Arabia, Zarqa Al Yamama tells the story of a legendary woman born to the Geddes tribe and blessed with the gift of foresight. Foreseeing the approach of a rival army that threatens to destroy her people, the story follows the heroine as she attempts to warn her leader and his advisors of the impending danger.
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Dann Barber’s all-purpose unit set was deceptively simple and highly effective, proof positive that even in a grand, capacious venue like the Palais, and within a lumbering, overstated comedic farce, sometimes the simplest scenic conceits, well-executed, are all that is required.
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Le Roi d’Ys. The soloists, the fine Hungarian National Choir of about 50, but sounding like 100, and the perfect Hungarian National Philharmonic Orchestra conducted by György Vashegyi treated us to a jewel on February 3: a little-known, colorfully orchestrated French Grand opera that is definitely worth a visit.
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Parelvissers. Bizet werd geplaagd door een artistiek geweten, hij schaamde zich voor het charmante in zijn muziek in plaats van het grootse. Hij legde een tanende interesse voor het drama aan de dag.
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AGRIPPINA. Besides pathos and drama, there is certainly irony to be discovered in Agrippina, but Kosky turns it into a flat farce and treated us to incomprehensible follies.
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May your holiday season be as stress-free as assembling flat-pack furniture. Cheers to untangling Christmas lights and finding batteries for all your ‘easy-to-open’ packages. Happy Holidays!”
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Olivier Keegel. Farewell announcement: Olivier Keegel steps down as editor-in-chief of Opera Gazet.
Join us in bidding farewell to Olivier Keegel, Opera Gazet’s esteemed editor-in-chief, who will hand over the reins to Marco Aranowicz on January 1, 2024. Opera fans, the party goes on!
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Diversity. Inclusivity managers keep track of race and gender demographics and apply pressure to correct diversity deficits.
Read More →Diversity. Inclusivity managers keep track of race and gender demographics and apply pressure to correct diversity deficits.
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Zauberflöte and Zauberflötitis – A breakthrough in the fight against Zauberflötitis came with the discovery of Beer and Very Old Gin as powerful anti-Zauberflötitis remedies.
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Tonio was de ster van de avond, gezongen door John Osborn die zijn ‘Ah, mes amis’, paradepaardje van tal van lyrische tenoren met goede hoge C’s, met een verbluffend gemak de zaal in slingerde.
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Unfortunately, the horrors haven’t stopped. After killing more than 1,300 babies, children, women, men and elderlies, and injuring thousands of people on this deadly attack, Hamas terrorists are now hiding in schools, hospitals and other public buildings in Gaza, causing suffer to many innocent Palestinians.
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