Olivia Giovetti appears in the following:
Krono-graphy: LIVE CHAT with Jeffrey Zeigler
Monday, April 11, 2011
Emoticons are for Lightweights: Opera in Less than 140 Characters
Monday, April 11, 2011
Is $5 Million the End of the World -- Or an Opera Company?
Friday, April 08, 2011
For many, it seems a maddeningly disconcerting that New York City Opera should now postpone its announcement of the 2011-12 season in order to reconcile its financial woes, chief among them a $5 million deficit. But maybe that’s not the worst thing.
Meet the Composers of This Weekend's 21c Liederabend
Wednesday, April 06, 2011
If you tuned into this week’s show on The New Canon, you probably heard me talking about 21c Liederabend. Producer Beth Morrison (dubbed by Zachary Woolfe of The New York Observer as “the opera lady who likes it crazy”) along with Opera on Tap and VisionIntoArt have created a series devoted to contemporary opera and art song that is continually satisfying—and continually ambitious. It started as a one-night program in 2009 but has since exploded into a three-day festival featuring the works of 20 composers. With so many composers converging April 7th through 9th, we’re here offering a bit of a primer for each one—and what you can expect to hear this weekend. Click on the composer’s name to sample their works off-site.
At Carnegie and Alice Tully Halls, Sweet Lovers Love the Spring
Monday, April 04, 2011
A Night at the Opera
Monday, April 04, 2011
Magyar Magic: New York Philharmonic's Hungarian Echoes Festival
Sunday, April 03, 2011
Two Adams Combine their Ribs for an Operatic Eve
Friday, April 01, 2011
Carlo Guelfi replaces Nicola Alaimo in the CSO's Otello at Carnegie Hall
Friday, April 01, 2011
With the Chicago Symphony Orchestra’s first trip to New York with its new, busy (and injury-plagued) music director, the one cancellation New York audiences have been collectively dreading is that of Maestro Muti. Which is why, when Carnegie Hall sent out an e-mail with the subject “Artist Update: Chicago Symphony Orchestra,” we momentarily held our breaths.
David Robertson, on Taking a Snapshot of Mozart’s Brain
Thursday, March 31, 2011
Jessica Rivera unveils Mark Grey’s Fire Angels at Zankel Hall
Tuesday, March 29, 2011
As the San Francisco Opera readies its new September 11-themed work, Heart of a Soldier, for a world premiere this fall, Carnegie Hall is unveiling its own premiere commemorating the tenth anniversary of 9/11. The luminous soprano Jessica Rivera, alongside pianist Molly Morkoski and Ensemble Meme (under conductor Donato Cabrera) gives a first listen of the Carnegie co-commission, Ātash Sorushān (Fire Angels) in her Zankel Hall recital this evening.
Remembering Lee Hoiby, Distinguished Composer
Monday, March 28, 2011
Lee Hoiby, a master of 20th-century art song and opera, died in New York City earlier Monday following a brief illness at the age of 85. The news was confirmed by Hoiby's publisher.
Opening Salvos
Monday, March 28, 2011
At New York City Opera, Three Far-From-Monotonous Monodramas
Saturday, March 26, 2011
A Rossini Debut and Some Welcome Returns at the Met’s Le Comte Ory
Friday, March 25, 2011
Theatricality abounds in Rossini’s operas. The composer trades in devices such as mistaken identity and hyperbole nearly as often as he does with coloratura riffs and grand ensemble numbers. So when Peter Gelb assumed directorship of the Metropolitan Opera in 2006, he couldn’t have made a better choice with pegging Broadway director Bartlett Sher to helm a new production of Rossini’s most famous work, Il Barbiere di Siviglia. Sher, a relative neophyte to the genre, made magic out of the classic score and story. The production has since served as a vindication for some of the company’s recent artistic missteps.
Reducing Exhaust Fumes, the Operatic Way
Wednesday, March 23, 2011
City Opera's Spring Season Kicks Off with a Potent 'Elixir'
Monday, March 21, 2011
It’s hard not to imagine Jonathan Miller as a living incarnation of L’Elisir d’Amore’s Doctor Dulcamara. Like Donizetti’s itinerant shyster, Miller breezes into an opera house with a flourish, bringing with him his knighthood, medicinal background and reputation for being—in Dulcamara’s own words—a Dr. Encyclopedia. And for some audiences, Miller’s operas (the most famous of which perhaps being the Mafioso Rigoletto set in 1950s Little Italy) are on par with the questionable wares peddled by Dulcamara.