By Francisco Salazar
The Metropolitan Opera has announced that in the midst of its cyberattack, the company will still showcase “The Hours” in HD.
The company said that the Live in HD transmission will take place as scheduled but the Live at Home stream presentation will be impacted due to the Met’s system issues.
All purchases for this event will be refunded once the opera’s systems have been restored.
“The Hours” is set to be conducted by Music Director Yannick Nezet-Seguin and will feature a production by Phelim McDermott. Renée Fleming, Kelli O’Hara and Joyce DiDonato lead a cast that also includes sopranos Kathleen Kim and Sylvia D’Eramo, mezzo-soprano Denyce Graves, countertenor John Holiday, tenors William Burden and Sean Panikkar, and bass-baritones Kyle Ketelsen and Brandon Cedel.
Of the opening night performance OperaWire noted that “Kevin Puts has finally been given his shot in the limelight with his new opera “The Hours,” which received its staged world premiere on Nov. 22, 2022… And he certainly did.”
By Afton Wooten
The Pasadena Chorale has opened applications for its student-mentor composition program, “Listening to the Future.”
Pasadena area high school students from ninth through 12th grade with a teaching recommendation are welcome to apply. The program runs from Jan. through June 2023. The five-month-long program culminates with the Pasadena Chorale performing the student composers’ piece at its Listening to the Future concert on June 17.
The six students chosen to participate will be selected based on their music experience, level of readiness, and teacher recommendation. Students will regularly meet and work with composer Amy Gordon. Student composers will be asked to produce one piece of original music for the Chorale and one arrangement.
Pasadena Chorale Founding Artistic & Executive Director Jeffrey Bernstein expressed his excitement for the program by saying, “Listening to the Future is an arts education program that is very special to me. Created and supported by Pasadena Chorale, Listening to the Future began in 2016 to give young composers a chance to hear their music performed in concert. There wasn’t a program like it in Pasadena. This year we’re thrilled that L.A.-based Amy Gordon will return as our composer mentor. Amy was the composer mentor in 2019-20. She’s a terrific composer and a superb educator.”
In its six years since the program has had alumni go on to study at Stanford, Columbia, Yale, Chapman University, University of Michigan, and more.
Students will receive professional video and audio recordings of their work that can include in college applications. Applications must be submitted by Dec. 31, 2022
By Francisco Salazar
The Opéra de Paris has announced a cast change for its opening night of “La Forza del Destino.”
The company said, “Anna Netrebko, unwell, has canceled the first performance on Dec. 12, 2022. As a result, Anna Pirozzi will sing the role and make her house debut earlier than expected.
Pirozzi was already scheduled to sing performances on Dec. 24, 27, and 30. Pirozzi has sung the role of Leonora in Piacenza and Modena. She is well known for her Verdi interpretations and has performed at the Metropolitan Opera, Teatro alla Scala, Royal Opera House, Teatro Regio di Torino, and Deutsche Oper Berlin, among others.
She will join a cast that includes Ludovic Tézier, Russell Thomas, Elena Maximova, Ferruccio Furlanetto, and Nicola Alaimo.
Netrebko returns for performances on Dec. 15, 18, and 21, 2022.
By Logan Martell
On January 20, 2023, Seattle Opera will present Saint-Saens’ “Samson and Delilah” for the first time since 1965.
This concert staging will feature acclaimed artists tenor Yonghoon Lee and mezzo-soprano J’Nai Bridges in the title roles, with both making their company debuts.
Seattle Symphony Conductor Emeritus Ludovic Morlot leads a cast including Greer Grimsley as the High Priest of Dagon, Andrew Potter as Abimelech, John Marzano as the Philistine Messenger, and Daniel Sumegi as the Old Hebrew, with the 52-member Seattle Opera Chorus prepared by Chorus Master Michaella Calzaretta.
There will also be a discussion held the day before held by SO scholar-in-residence Dr. Naomi Andrew, titled “Opera and Imperialism: Saint-Saens’ ‘Samson and Delilah’ and the Representation of the ‘Other.’”
“You come to the opera for exciting music and fantastic singing, and that’s exactly what you’ll get with this event,” said Seattle Opera General Director Christina Scheppelmann in an official press statement issued by the company. “The piece is so grand in scope, and yet it contains some of the most beautiful and sensual music in all of opera. It’s a real showpiece for all the splendid musical talent we have on display.”
By Francisco Salazar
This week audiences will get to experience the debut albums of major stars and ensembles as well as the world premiere video recording of a Bellini opera.
Here is a look at the releases from this week that you simply cannot miss.
Walking in the Dark
Julia Bullock makes her solo recording debut on Nonesuch Records. The includes two large orchestral works, Samuel Barber’s Knoxville: Summer of 1915 and the aria “Memorial de Tlatelolco” from John Adams’s “El Niño.” Bullock is featured alongside London’s Philharmonia Orchestra and conductor Christian Reif. Reif also plays piano with Bullock on the traditional spiritual “City Called Heaven” and songs by Oscar Brown, Jr., Billy Taylor, Sandy Denny, and Connie Converse.
Harlem Chamber Player
The Harlem Chamber Players will release its first-ever commercial digital album. The Harlem Chamber Players performs “The Music of Adolphus Hailstork,” which features three chamber music works.
Carols after a Plague
The Crossing, led by Donald Nally, releases its 29th album on New Focus Recordings. “Carols after a Plague” brings together 12 composers to write new works for The Crossing including music by Tyshawn Sorey, Edith Canat de Chizy, Joseph C. Phillips, Jr., L.J. White, Samantha Fernando, Leila Adu-Gilmore, Nina Shekhar, Vanessa Lan, Mary Jane Leach, Alex Burko, and Viet Cuong.
Marva/Iolanta
The Bayerische Staatsoper releases a double bill on DVD and Blu-ray, Igor Stravinsky’s “Marva,” arranged for chamber ensemble by Paul Phillips, paired with Tchaikovsky’s “Iolanta,” in a reduced orchestra version by Richard Whilds. Directed by Grimme and television director Axel Ranisch, the production features singers of the Opera Studio.
Bianca e Fernando
Dynamic releases the world premiere recording on video of Vincenzo Bellini’s rarely performed opera “Bianca e Fernando.” The performance features the Orchestra and Chorus of the Opera Carlo Felice Genova led by Donato Renzetti, with a new staging by Hugo de Ana. Salome Jicia Giorgio Misseri, and and Nicola Ulivieri star.
By Francisco Salazar
The Metropolitan Opera has suffered a cyber attack.
In a letter sent to OperaWire from several sources, General Manager Peter Gelb said, “Dear Members of the Company, Unfortunately, we’ve experienced a cyber attack that has temporarily impacted our network systems. Upon discovery of this, we launched an immediate investigation into the nature and scope of the incident. While web experts work to resolve the situation, our systems are down.”
Gelb added, “It will take time to restart them, since we first have to make sure that our systems are no longer infected and are secure, This means that for the time being we are unable to process paychecks or use Met email, our Tessitura System, or any of our other internal systems. Once there has been a fuller assessment of the impact of the attack over the next 24 hours, we will provide an information update. We are working as quickly as possible to get this difficult situation resolved.”
The General Manager concluded, “performances and rehearsals will take place as scheduled. Please stay in touch with your department supervisors. We understand how stressful this is for the members of our company, and thank you for your patience and understanding.”
The news comes a day after the company’s website went down and the company took to social media and said, “We’re currently experiencing network issues that are impacting our website and call center. We expect this to be resolved within the next few hours. Thank you for your patience.”
By Francisco Salazar
The Teatro alla Scala has been vandalized by climate protests hours before the premiere of the 2022-23 season.
The protesters threw blue and pink paint on the opera house’s columns to promote more urgent actions to curb climate change. The paint was quickly removed by authorities.
According to reports, police detained five people in relation to the attack and the opera house acted immediately to try and clean the building in time for this evening’s gala event which will see European Commission president Ursula Von Der Leyen, Italy’s president Sergio Mattarella and Italian premier Giorgia Meloni.
Early reports speculated that the protest was in relation to various planned demonstrations by Ukrainian leaders or regarding the rising energy costs in Italy. The Teatro alla Scala has been on the defense after opting to open its season with “Boris Godunov” during the war in Ukraine.
General Director Dominuqe Meyer noted, “In doing ‘Boris Godunov,’ we don’t do propaganda for Putin. … This is a great masterpiece in the history of art.”
The climate protest is the latest incident around the world that has seen concerts interrupted as well as activists gluing themselves to artwork or blocking traffic.
By Logan Martell
San Francisco Opera is set to continue their centennial celebration with the fourth installment of their “Streaming the First Century” platform.
This edition features a number of German and Austrian composers, including Strauss’ “Salome” and “Elektra,” Korngold’s “Die tote Stadt,” excerpts from Wagner’s “Die Walkure,” Mozart’s “Cosi fan tutte,” and Beethoven’s “Fildelio.” Each session explores SFO’s repertoire over the last 100 years, offering historic performance recordings, interviews, and contemporary conversations.
Introductions are provided by a panel of contemporary figures, along with original program articles and archival photographs to shed further light into the company’s history.
These works are presented as the company prepares for their June 2023 production of “Die Frau ohne Schatten,” which saw its company debut in 1959. Previous sessions are available to stream, featuring Russian and Slavic, French, and Italian works, respectively.
By Francisco Salazar
The Metropolitan Opera is set to revive the holiday presentation of Mozart’s “The Magic Flute.”
The opera will be presented nine times starting Dec. 16 in the English-language adaptation which runs under two hours.
Julie Taymor’s production returns to the Met with conductor Duncan Ward leading a stellar cast that includes tenors Ben Bliss and David Portillo as Tamino and sopranos Joélle Harvey and Sydney Mancasola as Pamina. Baritones Joshua Hopkins and Benjamin Taylor sing Papageno, and soprano Aleksandra Olczyk makes her company debut as the Queen of the Night.
Basses Soloman Howard and Peixin Chen returns as Sarastro, baritone Alan Held and bass William Guanbo Su sing the Speaker, and tenors Rodell Rosel and Thomas Capobianco are Monostatos.
The Dec. 16 performance of “The Magic Flute” will be broadcast live on Metropolitan Opera Radio and on Dec. 24, a taped broadcast of the Dec. 16 performance will also be aired on the Toll Brothers–Metropolitan Opera International Radio Network.
“The Magic Flute” runs through Jan. 6, 2023.
By Francisco Salazar
The Minnesota Orchestra has announced that Erik Finley has been appointed the Leni and David Moore, Jr. Vice President of Artistic Planning.
In this role, he will collaborate closely with Music Director Designate Thomas Søndergård, musicians, and artistic staff to bring to life a shared artistic vision for the organization.
Finley is currently the Vice President and General Manager of the St. Louis Symphony Orchestra. He will begin his role with the Minnesota Orchestra on Jan. 30, 2023.
As vice president of artistic planning, Finley will be responsible for the multi-season design and execution of the Orchestra’s overall artistic programming, including cultivating artistic relationships, collaborating on repertoire selection, overseeing digital programming, and developing plans for commissioning, recording, and special initiatives in alignment with the organization’s strategic directions.
In a statement Music Director Søndergård said, “I am very happy that Erik will be leading our artistic team to develop strategic programming, commissioning and artistic initiatives as I begin my role in Minnesota. I like his approach very much—he is creative, collaborative and a good listener. We are on the cusp of many beginnings, and I look forward to partnering with Erik, our musicians and other artistic staff to bring it all together.”
Finley studied horn at Rice University, the Royal College of Music in London, the Music Academy of the West, and the National Repertory Orchestra. He is a graduate of Boston University and the Interlochen Arts Academy, and an MBA candidate at Indiana University’s Kelley School of Business.
