Operahound is committed to the belief that live orchestral and operatic performance are more relevant — not less so — in an increasingly digitized world.
…in part because it’s our cue for birthday greetings to two astoundingly talented musicians: Tom Lehrer, 95, and Aksel Rykkven, 20. We should be grateful not only for their music but also for its accessibility in this digital age, which has spurred renewed interest in Lehrer’s body of work while allowing us to follow Rykkven’s development as an artist without venturing to his native Norway.
More importantly, perhaps, this performance reflected Opera Philadelphia’s commitment to the future of opera as an art form for everyone in its community and beyond.
For operagoers who have never had a chance to visit St. Louis, the city’s deep cultural roots can come as a surprise. But in his autobiography, the hyper-erudite Virgil Thomson — the first major American composer to get a Harvard degree — makes clear why St. Louis was dubbed “the
As (mis)reported by the New York Times, soprano Ailyn Pérez will star in the Metropolitan Opera’s first production of Daniel Catán’s opera “Florencia en el Amazonas” this season.
The brilliant young organist and conductor Anna Lapwood is also a conductor, broadcaster, Director of Music at Pembroke College (Cambridge), and a moving target. If you live in California or can make the trip, spare no effort to hear her.
March 28 at the First United Methodist Church in Palo Alto, CA.
April 1 at the Renée and Hentry Segerstrom Concert Hall in Costa Mesa, CA, with IMAG image magnification during the performance.
April 21 at Walt Disney Concert Hall, Los Angeles, CA.
As a “bio opera,” The (R)Evolution of Steve Jobs has plenty of company. Examples from past centuries include Handel’s Julius Caesar, Rossini’s William Tell, and Massenet’s Le Cid. But Bates’ opera belongs to a different, more modern genre. It challenges us to consider the life of an individual from our own times, to consider the meaning of that life, and then to look inward to understand the meaning of that life as it applies to our own.
What: The (R)Evolution of Steve Jobs. Fully staged performance of the opera by Mason Bates with libretto by Mark Campbell.
Where Utah Opera, Janet Quinney Lawson Capitol Theatre
With John Moore, baritone (Steve Jobs); Sarah Coit, mezzo-soprano (Laurene Powell Jobs); Wei Wu, basso (Kobun); Robert Tweten (conductor)
When May 6, 8, 10, 12, 14.
Tickets and information utahopera.org