Author Topic: General Opera News  (Read 137624 times)

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Offline Jeffrey Smith

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Re: General Opera News
« Reply #720 on: May 18, 2017, 08:29:06 AM »
I have seen quite a few takes from the DVDs.  They are not worth it.  On the other hand several live tapes are very much worth while.  I wonder if some of the remastered operas will be released seperately.

If they follow the same path as with the studio recordings, they will issue them individually.

Offline Tsaraslondon

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Re: General Opera News
« Reply #721 on: June 07, 2017, 10:45:04 AM »
I may be the last to find out, but WHHHHHHOOOOOOOOAH!

https://www.gramophone.co.uk/classical-music-news/maria-callas-live-box-set-of-remastered-live-recordings-to-be-released

 8)  8)  8)

Excitement for me is tempered. I heard on the grapevine that Warner approached Pablo Berruti of Divina Records, whose releases are exemplary in every way. Unfortunately, Warner were not prepared to pay him a proper fee, so negotiations broke down. I rather worry that, for the ones that EMI issued, they will just reproduce the awful EMI transfers (generally copies of unworthy sources). For the rest, they will probably just copy either Divina or Myto. I may be wrong, of course.

\"A beautiful voice is not enough.\" Maria Callas

Offline Wendell_E

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Re: General Opera News
« Reply #722 on: July 25, 2017, 11:22:33 AM »
Plácido Domingo will conduct three performances of Die Walküre at the 2018 Bayreuth Festival.

http://operawire.com/placido-domingo-to-conduct-wagner-opera-at-bayreuth-in-2018/

Weh!
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Offline ritter

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Re: General Opera News
« Reply #723 on: July 25, 2017, 12:05:21 PM »
Plácido Domingo will conduct three performances of Die Walküre at the 2018 Bayreuth Festival.

http://operawire.com/placido-domingo-to-conduct-wagner-opera-at-bayreuth-in-2018/

Weh!
Indeed... Weh, ach wehe! Dies zu dulden!

And to program a Ring opera in isolation like this must be a first in the festival's history. Weh!
Ritter
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Offline Wendell_E

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Re: General Opera News
« Reply #724 on: July 25, 2017, 03:44:09 PM »
Indeed... Weh, ach wehe! Dies zu dulden!

And to program a Ring opera in isolation like this must be a first in the festival's history. Weh!

Since the Castrof Ring premiered in 2013, they've had one extra, non-cycle performance each summer (this year it'll be a Walküre on Aug. 18, between cycles 2 and 3), but yeah, this'll be a first, since they won't be doing the other three operas at all in 2018. Tutto declina.
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Offline Cato

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Re: General Opera News: An Opera about Steve Jobs
« Reply #725 on: August 08, 2017, 05:32:10 AM »
A Wall Street Journal review by Heidi Waleson of an opera about Steve Jobs by composer Mason Bates:

(Two excerpts)

Quote
Two scenes stand out in Mason Bates’ “The (R)evolution of Steve Jobs, ” now in its world premiere engagement at the Santa Fe Opera. In both of those scenes, the energy of the composer reacts with that of his mercurial subject to create something theatrically arresting and new. The first happens early. After a brief prologue that takes place in 1965 on Steve’s 10th birthday, we are suddenly plunged into the 2007 product launch of the iPhone (we know what it is, though Apple and its products are never named). The tempo picks up, the orchestra ticks and pulsates with rhythmic excitement, and as the adult Steve ( Edward Parks ) demonstrates—“One device / Does it all. In one hand”—images of computer icons and webpages (by 59 Productions) flash on Victoria “Vita” Tzykun’s paneled set. Steve’s jittery aria—“Tap / Get the news / Tap / Book a flight,” and so on, with every other function one could possibly wish—sweeps the chorus along in a moment of triumph that captures the zeitgeist of this revolution in technology. In the other memorable scene, which takes place about two-thirds of the way through the 90-minute opera, the rhythmic energy lurches toward chaos: Now we’re back in the 1980s, Apple’s fortunes are falling, and Steve, reacting to every design idea with “Wrong. All wrong,” sows discord in the company, pushes his old friend and collaborator, Steve Wozniak (“Woz”), away, and, after the board sidelines him, quits as the orchestral roar turns into the cacophony in his head.


Quote
This is the first opera for Mr. Bates, who is best known for integrating electronica and techno rhythms with classical instrumentation. His vocal writing here is tuneful and accessible, if not gripping; the opera’s most interesting music is for the orchestra and the complex, overlapping ensembles like the two driving, aforementioned scenes. Electronic sounds create unusual effects, like the moment right after the launch, as Steve’s illness overcomes him, when the whole orchestra seems to groan; so does the use of a guitar as a leitmotif for Steve.

See:

https://www.wsj.com/articles/the-r-evolution-of-steve-jobs-review-the-apple-co-founder-gets-his-own-aria-1502141764
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