By Francisco Salazar
Following the release of images from Teatro Real’s dress rehearsal of “Aida” and some choice comments from major performers in the production, OperaWire inquired into the matter and reached out to the Teatro Real de Madrid regarding whether the production would be employing any kind of Blackface.
The company responded this morning stating that it was not using any Blackface and that it was “banishing” the practice altogether.
The company told OperaWire, “in the production of ‘Aida,’ which the Teatro Real will premiere on October 24, blackface -theatrical makeup used to represent a black person- is not used or performed on any of the performers in the show. Everyone appears in their actual skin tone.”
The company added, “The gold and silver makeup used by the Teatro Real in this production to cover the skin of some of the dancers and figurative actors and actresses is due to artistic reasons. No makeup is used to fake another skin color. What the stage direction seeks is the ‘sculpturing’ of the body. Human bodies treated like bronze statues.”
The company also noted that “the practice of blackface has been banished from the Teatro Real and the stage director and his entire team have collaborated in the most positive and creative way to change all the elements of the original production that could give life to the slightest misunderstanding.”
Earlier this year, the Arena di Verona’s production of “Aida” came under fire for its use of Blackface. The company defended its stance and artists throughout the production continued the practice. Tenor Piotr Beczala, who is singing in the Teatro Real’s “Aida” said that that Verona controversy was “ridiculous” and baritone Carlos Álvarez, recently gave an interview in which he stated that his Amonasro would be a “dark Ethiopian King with African cultural characteristics. That is my political correctness.” (El Debate adds that he smiles as he said this part regarding “political correctness”)
By Francisco Salazar
Soprano Saioa Hernández has joined the roster of Centre Stage Artist Management for general management.
Hernandez has been performing for over a decade and is a leading soprano at the Teatro Real Madrid, Vienna State Opera, Teatro alla Scala di Milano, Berlin Deutsche Oper, Gran Teatre del Liceu, Sidney Opera House, Opera de Paris, Bavarian State Opera among others.
She recently received Spain’s most prestigious prize the Gold Medal in Fine Arts and has received the Oscar de la Lirica for the best soprano of the year 2021. She was voted Best Female Voice of the year 2016 for the Spanish Association of the Opera and won the Manuel Ausensi, the Jaume Aragall and the Vincenzo Bellini award.
This season, the soprano is set to perform in “Il Trovatore” at the Gran Teatre del Liceu, as well as “Nabucco” at the Deutsche Oper Berlin and Opera of Geneve. She will also sing at the Teatro de la Zarzuela in the lead role of “La Dolores” and Tosca at the Deutsche Oper Berlin. She will also sing at teh Staatsoper Hamburg, Teatro Real in Madrid, and Sydney Opera House.
By Francisco Salazar
Centre Stage Artist Management has announced that tenor Edgardo Rocha has joined the roster for general management.
Rocha is considered one of today’s foremost interpreters of bel canto repertoire and has performed at the Festival della Valle d’Itria di Martina Franca, Zürich Opera House, Grand Théâtre de Genève, Bayerische Staatsoper, Vienna State Opera, and the Salzburg Festival.
This season the Uruguyan tenor performs the role of Lyonel in Halévy’s “L’Éclair” at Grand Théâtre de Genève, and Elvino in “La Sonnambula” at Opera Nice Côte d’Azur and at Deutsche Oper am Rhein.
He will also make role debuts as Roberto in “Maria Stuarda” at Grand Théâtre de Genève and Gérald om “Lakmé” at Zürich Opera House. He also returns to the Teatro Real in Madrid for the role of Don Narciso in “Il turco in Italia.”
By David Salazar
The Wexford Festival Opera has named Ethna Ryan as its “Volunteer of the Year” for 2022.
The award, which is presented in conjunction with Ecclesiastical, was voted on by fellow volunteers, the board, and the staff of the festival.
Ryan has been a volunteer with the festival for over 20 years, starting with her participation in the Lunchtime Recitals Programme. She has also sold programs at evening operas and worked hospitality roles such as looking after Festival guests and friends.
“The very survival of many charitable institutions is dependent on the volunteer sector and the dedicated volunteers at Wexford Opera Festival are no exception to this. Their professionalism is a perfect complement to the world class performances that we witness during every festival. I’d like to congratulate this year’s winner Ethna Ryan for the incredible work she has done over more than 20 years and for achieving this prestigious Volunteer of the Year Award 2022. At Ecclesiastical, we are delighted to be associated once again with this award and our particular congratulations also go to Eleanor and her team for their invaluable contribution to the Festival,” said John Devitt, Head of Business Development speaking on behalf of Ecclesiastical.
This year’s edition of the Wexford Festival Opera will open on Oct. 21 and runs through Nov. 6, 2022.
By David Salazar
The Oregon Symphony has announced a series of holiday concerts.
For the purposes of this article, our focus will be solely on vocal performances.
“Comfort & Joy” will open the series with Deanna Tham at the podium. The Oregon Chorale will take on holiday classics like “White Christmas” and “We Need a Little Christmas.”
Performance Date: Dec. 7, 2022
Charles Floyd will lead the Northwest Community Gospel Chorus in a “Gospel Christmas with the Oregon Symphony.”
Performance Date: Dec. 10 & 11, 2022
Kristin Chenoweth will then get a program of holiday classics. Mary-Mitchell Campbell conducts.
Performance Date: Dec. 15, 2022
There will also be performances of “The Four Seasons” and a screening of “Elf” accompanied by the ensemble.
By Francisco Salazar
Opera Europa has appointed Karen Stone as its new Director following a thorough search process.
The Board of Opera Europa made the appointment effective Jan. 1, 2023. Stone will take over from current Director Nicholas Payne, who is passing on the baton after leading the membership organization since 2003.
The announcement was by Anna Maria Meo, president of Opera Europa at the autumn conference Integration & Inclusion hosted by Hungarian State Opera.
In a statement, Meo said, “The selection committee was convinced by Karen Stone’s true devotion to opera and the performing arts. She has been a faithful and active member of Opera Europa for many years and has demonstrated her support and belief in our association. Her international experience and her understanding of the diversity of our membership are of great value. Her commitment to the next generation – of managers, of artists, of audiences – will benefit Opera Europa thanks to her fabulous energy. Karen Stone is the ideal candidate to lead Opera Europa into a new stage.”
In response to her appointment Stone said, “It is always a surprise what will turn up next in life, but what a thrill it is to be chosen to take over the reins of Opera Europa, certainly the most exciting new direction for me! Nicholas Payne has done such a marvelous job setting up Opera Europa and developing it into the strong international organization it has become, that I know he will be a hard act to follow, but he is handing over a thriving network of European companies and a marvelous group of professionals in the organization. I cannot wait to sit down with them and the Board to grow Opera Europa and plan future initiatives and directions. I am looking forward enormously to putting all my efforts into supporting and developing this great institution and to meeting with all my colleagues and friends and getting the input from such a creative group.”
Stone recently retired from Theater Magdeburg where she held the position of Intendantin for 13 years. She has also been General Director at The Dallas Opera, Generalintendantin at Oper Graz and Opera Director at Oper Köln.
By Afton Wooten
The Glyndebourne Tour has announced its lineup for 2022.
The tour taking place Oct. through Dec. will feature Mozart’s “The Marriage of Figaro” and “Requiem,” Puccini’s “La bohème,” and Fernando and Wilson’s new opera, “glass human.” The company will make stops in Milton Keynes, Canterbury, Norwich, and Liverpool
All times and dates vary depending on the show.
Starting off the tour, Glyndebourne Tour will perform “The Marriage of Figaro,” Mozart’s “Requiem,” “La bohème,” and “glass human” at the Milton Keynes Theatre.
Performance Dates: Nov. 1 – 5, 2022
The same series of operas will be performed at the Marlowe Theatre in Canterbury.
Performance Dates: Nov. 8 – 12, 2022
The Theatre Royal in Norwich will host the same performances.
Performance Dates: Nov. 15 – 19, 2022
The final performance of this set, sans “glass human,” will take play at the Empire Theatre in Liverpool.
Performance Dates: Nov. 24 – 26, 2022
Glyndebourne Tour will finish the Liverpool leg of the tour at the Tung Auditorium. This event only features “glass human.”
Performance Date: Nov. 26, 2022
By Francisco Salazar
The Fondazione Teatro Petruzzelli has announced its 2023 season. Here is a look at the operatic and vocal performances.
Opera
The season opens with Rossini’s “Il Barbiere di Siviglia” with Cecilia Molinari, Amira Elmadfa, Levy Sekgapane, Cesar Cortes, Marcus Werba, Gurgen Baveyan, Gianluca Buratto, Nicolò Donini, Marco Filippo Romano, and Stefano Marchisio. Stefano Montanari conducts teh production by Davide Livermore.
Performance Dates: Jan. 22-29, 2023
Hartmut Haenchen conducts Strauss’ “Salome” in a production by Damiano Michieletto. The cast includes Ian Storey, Elena Gabouri, Jane Archibald, Leah Gordon, Samuel Youn, and Joel Prieto.
Performance Dates: Feb. 24-March 2, 2023
Two casts headline Verdi’s “Attila.” The first is led by Alexander Vinogradov, Simone Piazzola, Leah Crocetto, and Fabio Sartori. The second stars Marko Mimica, Leo An, Maria Tomassi, and Azer Zada. Henrik Nánási conducts the production by Daniele Abbado.
Performance Dates: April 21-28 2023
Marco Berti and Gaston Rivero lead Verdi’s “Otello” with Vladimir Stoyanov, Vittorio Vitelli, and Vittoria Yeo. Giacomo Sagripanti conducts and Francesco Micheli directs.
Performance Dates: June 23-29, 2023
Rebeka Lokar, Maida Hundeling, Ramaz Chikviladze, Andrea Comelli, Jorge de León, Gaston Rivero, Francesca Sassu, and Rocio Ignacio lead Puccini’s “Turandot.” The opera will be directed by Paul Curran and Renato Palumbo will conduct.
Performance Dates: Sept. 13-21, 2023
Wagner’s “Tannhäuser” will star Lance Ryan, Andreas Sager, Albert Pesendorfer, Betsy Horne, Jordanka Milkova, Benjamin Russell, and Aaron Cawley. Patrick Lange conducts the production by Uwe Eric Laufenberg.
Performance Dates: Oct. 11-15, 2023
Moritz Kallenberg, Caterina Dellaere, Christian Senn, Stefanie Iranyi, Nicole Piccolomini, and Francesca Benitez star in Britten’s “The Rape of Lucretia.” Christian Arming conducts the production by Yannis Kokkos.
Performance Dates: Nov. 15-21, 2023
Selene Zanetti and Martina Gresia star in Puccini’s “La Bohème” alongside Bianca Tognocchi, Francesca Pia Vitale, Ivan Ayon Rivas, Riccardo Della Sciucca, Mattia Olivieri, Luca Galli, Biagio Pizzuti, Marko Mimica, and Francesco Leone. Giacomo Sagripanti conducts the production by Hugo de Ana.
Performance Dates: Dec. 21-30, 2023
Concerto
Concerto Corale is set to perform music by Poulenc, Florent Schmitt, Richard Strauss, and Pasquale Corrado.
Performance Date: Jan. 26, 2023
Hansjörg Albrecht conducts Mozart and Honneger with soloists Eleonora Bellocci, Anke Vondung, Patrik Reiter, and Pavel Kudinov.
Performance Date: March 23, 2023
Raffaele Pe is set to perform La Liria di Orfeo with music by Handel, Giacomelli, and Carlo Francesco Pollarolo.
Performance Date: June 20, 2023
By Afton Wooten
Random Opera Company is set to present its first commissioned opera on film “The Heavenly Ledger” by composer Evan Henry and librettist John Klaess.
As a result of Random Opera Company’s inaugural composition competition last year, Henry and Klaess’ opera was born. The work was chosen by a jury including Martyn Brabbins, Sir David Pountney, and Claire Rutter. Rutter says via an official press release, the piece tells a ” pertinent story with humor and a tinge of sadness and enjoyed the unique approach to harmony.”
The story follows Peter, sung by bass James Corrigan, who works for a company whose software decides mortal fate using a sorting algorithm. One of the applicants Iris, played by mezzo-soprano Sarah Richmond, is unhappy with her results. This unfolds a conflict within the office that must be solved.
Bass-baritone Jacob Bettinelli plays Peter’s boss, Paul, and counter-tenor Garreth Romain sings the role of Francis the costume service agent. The creative team also includes musical director Michelle Marie Santiago and director/videographer Richard Tegid Jone.
“The Heavenly Ledger” will be released on the Random Opera Company’s website on Oct. 24.
By David Salazar
The Ivors Academy has announced the 20th Composer Awards nominees.
For the purposes of this article, our focus will be solely on classical composers.
In the Chamber Ensemble category, the nominees include Robin Haigh for “AESOP 2” for untrained recorder soloist and 13 players and electronics; “Laurence Osborn for Essential Relaxing Classical Hits” for solo soprano and six players; Brett Dean’s “Madame Ma Bonne Soeur” for mezzo-soprano and string quartet; and instrumental pieces by Alex Paxton (“Music for Bosch People”) and Oliver Leith (“The Big House”).
In the Choral category, the nominees are Ken Hesketh (“Carmina Tempore Viri”), Kristina Arakelyan (“Seascapes”), Cecilia McDowall (“There is No Rose”), and Joanna Marsh who received two nominations for “All Shall be Well” and “A Short Story of Falling.”
In the Community and Participation category, which honors works for voluntary, amateur, and youth performers, nominees included “Daylighting,” a community opera by Louise Drewett with a libretto by Clare Shaw; “Derri Joseph Lewis’ “Something Exciting” for SSAATB choir; John Barber and Jessica Duchen’s youth opera “The Selfish Giant;” and choral work “When a Child is Witness – Requiem for Refugees” by Liz Dilnot Johnson.
Vocal nominees in the Large Ensemble category include Laura Bowler’s “Houses Slide” for “cycling soprano,” and Cheryl Frances-Hoad’s “Scenes from the Wild” for tenor and chamber orchestra.
Vocal nominees in the Small Chamber category include “Fantasie di Strani e Dolci Misteri della Parola” by James Weeks for mezzo-soprano and violin; Laurence Crane’s “Natural World” for soprano and piano; Hannah Kendall’s “Rosalind” for soprano, baritone, and piano; and Lara Agar’s “This Unquiet Autumn” for soprano and piano.
Una Lee’s “Down Gone;” Hannah Conway’s “The Sound Voice Project: Paul, I Left My Voice Behind and Tanja;” Kathy Hinde’s “Earthquake Mass Re-Imagined;” and Emily Peasgood’s “Beacons” were nominated in the Sound Art category.
And finally, in the stage works category, the opera nominees included Thomas Adès’ “Dante,” John Wallace’s “Opsnizing,” Edward Jessen’s “Syllable,” John Casken’s “The Shackled King,” and Freya Waley-Cohen’s “Witch.”
