Bolshoi Theatre Revives Robert Carsen Circus "Rigoletto"

Kristina Mkhitaryan as Gilda

"Giuseppe Verdi's immensely popular opera Rigoletto returned to the Bolshoi Theater earlier this month, after an absence of 25 years, in a staging by Canadian director Robert Carsen co-produced by the Bolshoi, the Festival d'Aix-en-Provence, in France, where it originated in the summer of 2013, and the opera houses of Brussels, Strasbourg and Geneva. The Bolshoi played host to the Russian premiere of Rigoletto in 1859 and over the next 130 years the opera went on to become one of the theater's most-performed works, appearing nearly 1,600 times in 11 different stagings. To say that Carsen's production is unlike any seen before at the Bolshoi would amount to a gross understatement. Moving the action from its

Justina Gringyte as Maddalena and Sergey 
Romanovsky as the Duke of Mantua

original locale, the 16th-century ducal court of Mantua, in northern Italy, to a modern-day circus arena, Carsen has turned the libidinous Duke into an equally libidinous circus director and the court jester, Rigoletto, into a clown. To conduct Rigoletto, the Bolshoi engaged prominent Italian conductor Evelino Pido, who encountered certain difficulties in coordinating his forces and for whom the orchestra played rather insensitively at times. The principal treat vocally on opening night was the Duke of Sergei Romanovsky, who, after a brief stint with Novaya Opera, left Russia in 2009 to pursue a career abroad. His bright, technically secure lyric tenor proved a near-perfect fit to the music, marred only by a few cracked high notes. And he played the philandering Duke with enormous gusto and conviction. Kristina Mkhitaryan, a

Dimitris Tiliakos as Rigoletto

member of the Bolshoi's Young Opera Artists Program, showed considerable potential in her sympathetic account of the doomed Gilda, though she lacked, on opening night at least, the pure, bell-like high notes heard from the part's finest interpreters. The vocal disappointment of the evening was the Rigoletto of Greek baritone Dimitris Tiliakos, who seemed to possess several different voices, principal among them an only intermittently full-bodied sound in the mid-range of a sort that marks the true 'Verdi baritone' and rather weak and fluttering notes in music's upper reaches." [Source] Click here for information about Rigoletto performances at the Bolshoi. Watch a video after the jump.

Silvesterkonzert Selfie: A Gipsy Princess And Her Men

(Photo: Facebook)

Anna Netrebko with tenor Juan Diego Flórez (right) and Maestro Christian Thielemann (left) after the Silvesterkonzert performance of Kálmán's Die Csárdásfürstin at the Staatskapelle Dresden. Watch the performance after the jump.

Greek Soprano Dimitra Theodossiou Survives Ship Fire

The soprano at a concert in China last May.

Dimitra Theodossiou was a first-class passenger on the Norman Atlantic ferry when she awoke to smoke in her cabin. The opera soprano describes in detail throwing on a sweater, grabbing money, and gathering identification, before making her way to the upper decks of the ship. She was shocked to see men pushing women out of the way to make it to the helicopters rescuing passengers. A fellow passenger also slapped her face to keep her awake waiting for her chance for rescue declaring, "You must not sleep. If you sleep, you die." She was particularly distressed by the lack of no fire alarm on the ship and the fact that not all of the life boats were put in the water. The full account of the tragic event can be found after the jump. Read the full interview with the soprano by clicking here. For videos of the fire and rescue, click here. Read the soprano's complete biography here. Listen to a telephone interview, and watch a video tribute to the Greek opera star, below.

Anna Netrebko Covers Russian Tatler Magazine For December

Soprano Anna Netrebko is featured in the Russian edition of Tatler magazine. Inside pages feature the singer in her New York apartment with fiancé Yusif Eyvazov (pictured at left) and son Tiago. The photos catch a glimpse of the glamour that surrounds the opera world's superstar. Ms. Netrebko will next be seen performing at the Metropolitan Opera in Iolanta by Tchaikovsky from January 26 - February 21, 2015. The HD broadcast in movie theaters will take place on Valentine's Day, February 14. To purchase her new recording of the opera on Deutsche Grammophon, click here. More photos from the Tatler pictorial can be found after the jump. For additional information about the issue, click here.

Opera Singers Important To "Christmas In Washington" History

Clamma Dale

Performing for Presidents of the United States has long been a duty and service that comes with great honor for classical musicians for more than a century. Particularly highlighted during the holiday season in December each year since 1981, opera singers have played an integral part of the concert Christmas in Washington. Standing alongside fellow musicians from virtually every genre of the music world to celebrate holiday favorites has brought the world of opera to larger audiences via television. Taking a look back over the years, the following singers have been fortunate enough to be part of this American tradition: Frederica von Stade (1984), Clamma Dale (1986), Kathleen Battle (1988), Barbara Hendricks (1990), Dawn Upshaw (1995) Ruth Ann Swenson (1996), Thomas Hampson (1997), Harolyn Blackwell (1998), Charlotte Church (2001), Renée Fleming (2003),  and Andrea Bocelli (2010). Take a look at some of the

Kathleen Battle

performances after the jump. "One of two annual holiday specials produced by George Stevens, Jr. (the other being the Kennedy Center Honors), the variety show first aired in 1981 on NBC before moving to its current home on TNT in 1998. Recorded in Washington, D.C. at the National Building Museum, on the second Sunday of each December before being re-edited for later broadcast, Christmas in Washington is a one-hour concert featuring artists from musical genres. Each guest perform at least one solo, but the marquee performer usually has one or two more songs. The show also has at least one guest from the world of opera. Each of the musical performances are backed by a full orchestra and chorus. The show's finale consists of a medley performed by all the musical guests before

Frederica von Stade

the attendees-of-honor, the President of the United States and the First Lady, make a closing statement. Recent events have benefited Children's National Medical Center. The show also has a host. For many years, the show was hosted by Dr. Phil and his wife, Robin. However, since 2009, the show has had a single host. The 2013 edition featured Hugh Jackman as host and The Backstreet Boys as marquee performers, marking the first time in six years that a group has been featured as marquee performers. The show airs live on pay-per-view internationally and in most major cities, after which a re-edited 42-minute version (with commercials in a one-hour slot) airs on the aforementioned TNT network." [Source, Source, Source, Source, Source]  

Renee Fleming performing during the Christmas in Washington at the National Building Museum in Washington, D.C., in 2003. | gettyimages.com

Will The Metropolitan Opera Be Forced To Sell Chagall Paintings?

Renée Fleming in the new Susan Stroman production of Lehár's The Merry Widow (Die Lustige Witwe) which opens this month at the Metropolitan Opera. It will replace the last new production they did of the operetta in 2000. (Photo: Ken Howard/Metropolitan Opera)

"New York City’s Metropolitan Opera Association had its rating cut by Moody’s Investors Service to three steps above junk and is again turning to works by Marc Chagall for collateral as its cash dwindles. The nation’s largest performing-arts organization is putting the Chagalls hanging in its lobby -- 'The Triumph of Music' and 'The Sources of Music' -- up as collateral on a line of credit with Bank of America Corp., Sam Neuman, a spokesman for the opera, said in an e-mail today. The opera is tapping the paintings anew after using a $100 million bond sale to pay off bank loans backed by the artwork in 2012. Moody’s today lowered that debt one level to Baa1 and assigned a negative outlook, meaning more cuts are possible. The Met’s deficit ballooned to an estimated $22 million in fiscal 2014, from $2.8 million in 2013, according to financial documents. The opera, which had its first performance in 1883, expects to balance its budget in the next two years by cutting expenses such as labor costs, Neuman said....In fiscal 2013, the organization had monthly liquidity of $46 million, covering 53 days of cash expenses, according to Dennis Gephardt, a Moody’s analyst. Without a $17 million draw on its line of credit, liquidity fell in half, according to preliminary fiscal 2014 results, Gephardt wrote in today’s report." And the New York Times points out: "Some of the Met’s biggest stars recently agreed to cut their fees to help the Met. This week, another cost-cutting measure was evident: It did not put up its Christmas tree."[Source]

Last-Minute Holiday Shopping Ideas From Heavenly Voices On High

Purchase the album here.
Recommended track: "Do You Hear What I Hear?"

If you want to turn the frequency up this holiday season, check out the plethora of recordings from divas both past and present. From the latest release by Measha Brueggergosman to the Germanic overtones of Rita Streich, Maria Stader, and Anneliese Rothenberger, high notes during the holidays will ensure everyone has a holly jolly time. Check out more than 30 albums after the jump to give you instant holiday spirit through sacred seasonal music or christmas classics. Each one is linked to the full digital version to allow you to either choose the entire package or simply download the tracks you enjoy most. You can even make a compilation off the recommended tracks from each selection. Joyeux Noël, Buon Natale, Frohe Weihnachten, Feliz Navidad and с рождеством! Remember to share the music with someone you love this holiday season.

Deborah Voigt And Mormon Tabernacle In Festive Holiday Mode

"Leading dramatic soprano Deborah Voigt and acclaimed British actor and voice artist John Rhys-Davies join the Mormon Tabernacle Choir and Orchestra at Temple Square in a concert of holiday favorites.Among the highlights of the concert, conducted by Mack Wilberg and Ryan Murphy, are Voigt’s performances of the English carol 'The Holly and the Ivy' and the light-hearted 'The Twelve Days After Christmas' with the choir and orchestra. The program includes a new Mack Wilberg twist on the traditional song 'Christmas Is Coming (The Geese Are Getting Fat).' The Bells on Temple Square join the choir and orchestra for an upbeat rendition of 'Ring Those Christmas Bells.' The concert also includes Rhys-Davies’ dramatization of A Dickens Christmas with Robin Dick and the Christmas Players. The vignette features Rhys-Davies as the Ghost of Christmas Present soaring overhead at the LDS Conference Center in a dazzling scene of aerial choreography. Rhys-Davies also reads Luke 2: The Christmas Story with a fervor that moves audiences. Recognized as one of the world’s most versatile singers, Deborah Voigt is a leading dramatic soprano revered for her performances in the operas of Richard Wagner and Richard Strauss. She also has portrayed heroines of Italian opera to great acclaim. An active recitalist and performer of Broadway standards and popular songs, she appears regularly as both performer and host in the Metropolitan Opera’s Live in HD series. Acclaimed British actor and voice artist John Rhys-Davies is one of modern cinema’s most recognizable character actors, best known to film audiences for his role as Sallah in Raiders of the Lost Ark and Indiana Jones and the Last Crusade, and more recently as the ax-wielding dwarf Gimli in Peter Jackson’s The Lord of the Rings trilogy. Together with the Mormon Tabernacle Choir and Orchestra at Temple Square, Voigt and Rhys-Davies performed before a combined audience of 80,000 people in the annual concert taped in December of 2013 at the LDS Conference Center in Salt Lake City, Utah." [Source] Check your local listings for performance times this evening. You can also purchase the DVD and CD by clicking here.

Chris Pine Meets The Barber During Armani Code Commercial

Actor Chris Pine seen here in the elusive cologne commercial for Armani Code. An electronic version of the overture from Rossini's Il Barbiere di Siviglia plays under the ad. Watch the clip after the jump.

For Anna Netrebko Baby Questions Are Harder Than Politics Right Now

Modeling in a fashion show for friend and designer Irina Vitjaz, Anna Netrebko is joined by son Tiago and fiancé Yusif Eyvazov in Vienna. After a stroll down the catwalk, the couple is interviewed for German television. During the segment the host makes mention of fellow opera singer, Ukrainian mezzo-soprano Zoryana Kushpler, and the pending birth of her child. Without skipping a beat, she then asks the recently-engaged couple if offspring is a topic with Anna. See the video here. 

Holiday Spirit Hits The Runway: Anna Netrebko with son Tiago and fiancé Yusif Eyvazov in Vienna 
(Photo: Irina Vitjaz)

Royal Party Report From University of St. Andrew 600th Anniversary

As mentioned a few days ago, Renée Fleming was a guest among the Duke and Duchess of Cambridge's attendance at the 600th Anniversary Gala for the University of St. Andrews. New York Social Diary reports: "After the dinner Renee Fleming, who was at royal couple's table, sang 'O mio babbino caro' from Puccini's short opera Gianni Schicchi. Beautiful, with a voice as splendidly eternal as the ancients' creations surrounding us. She then sang us 'Have Yourself a Merry Little Christmas' (originally written for Judy Garland in the MGM movie, Meet Me In St. Louis). Again wonderful. Fleming has an equally alluring non-operatic style to her voice." [Source] The soprano was a stand-in for Sting, who was unable to attend due to his performance schedule in his Broadway show, as she told Kelly Ripa and Michael Strahan the other morning on their show. No word on whether the gown is by Vivienne Westwood or another British designer for the occasion. Read more about the evening and see lots of photos by clicking here. 

Coffee Break: Vocalise-Étude en forme de Habanera By Ravel

"L'Indolence" by Frederick Arthur Bridgman (1847-1928)

Lush Meets Lush: The transcendent voice of Jessye Norman wraps itself in the intoxicating perfume of Maurice Ravel's romantic music in G minor composed in 1907. The composer marked the score: "Presque lent et avec indolence." This music is meant to be luxurious, but not self-indulgent. 

Real-Life Opera Between Chinese Restaurant & Harvard Professor

All Mixed Up: Bar manager Ran Duan might feel like he is in the middle of an opera plot gone bad.

"Ben Edelman is an associate professor at Harvard Business School, where he teaches in the Negotiation, Organizations & Markets unit. Ran Duan manages The Baldwin Bar, located inside the Woburn location of Sichuan Garden, a Chinese restaurant founded by his parents. Last week, Edelman ordered what he thought was $53.35 worth of Chinese food from Sichuan Garden’s Brookline Village location. Edelman soon came to the horrifying realization that he had been overcharged. By a total of $4. If you’ve ever wondered what happens when a Harvard Business School professor thinks a family-run Chinese restaurant screwed him out of $4, you’re about to find out. Read the complete email exchange by clicking here. Ran Duan moved to the U.S. from

Plaintiff: Ben Edelman

China when he was 3-years-old. His father had hoped to support the family with a career as an opera singer, but when that didn’t pan out, Duan says 'like all Chinese families we decided to open up a restaurant.' Sichuan Garden opened its doors in Brookline in the early 1990s. A second location followed in Woburn." [Source] You can learn more about Benjamin G. Edelman by clicking here and if you're in Woburn area, check out The Baldwin Bar. The "Read Between the Lines" cocktail looks particularly delicious. Read a Boston Magazine feature on Ran Duan ran in June 2014 and a 2011 story by the Boston Globe reveals his mother was also a promising opera singer.

Angela Gheorghiu Provides Live Vocals For Alvin Ailey Dance Troupe

Live From New York: Gheorghiu sings an aria to
accompany a dance depicting violence between a man
 and a woman in a relationship. (Photo: Facebook)

"The joyless 'Uprising' had contradicted this, and so did what followed: the depiction of a mutually abusive male-female relationship that is Mr. Battle’s 'Unfold.' The woman’s showily sustained backbends seem to invite her partner to manhandle her; he duly obliges, and occasionally she gets him back by tugging him down to the floor. If you understand the ecstatically erotic French words of the operatic aria that Mr. Battle takes as his accompaniment here — 'Depuis le jour,' from Gustave Charpentier’s Louise — then you see that Mr. Battle means his duet as an exercise in pointed theatrical irony. The soprano sings of the delicious tremblings arising from her charming memories of living with her lover; the dancing shows us a couple forever locked in grimly flamboyant and aggressive behavior that brings them no joy. Is this really part of the Ailey legacy? To me, it looks wholly anti-Ailey. Usually, 'Unfold' is accompanied by Leontyne Price’s slow, lush recording of the Louise aria. On this occasion, the aria was sung live onstage by Angela Gheorghiu, with Eugene Kohn’s piano accompaniment. Ms. Gheorghiu’s singing, often under the note, was into a microphone; though she makes more of the words than Ms. Price, her singing on this occasion was unusually tense and unsteady. (It’s worth listening to recordings from Charpentier’s day, all of which take a far less dilatory tempo.)" [Source] Ms. Gheorghiu had a similar personal situation back in 2013 regarding domestic abuse. Watch a brief clip of the Alvin Ailey dance after the jump.

Diana Damrau On Her Mad Journey With "Lucia di Lammermoor"

A Vision of Delirium: Diana Damrau
(Photo: Rebecca Fay)

"So when did this particular journey begin? 'I saw my first Lucia performance in Vienna standing in the famous Stehplätze [standing places] for a few euros,' she tells me. 'I was a student and I went to Vienna and I got to see Edita Gruberová in Lucia. But I think I already heard the Sutherland recording and also Callas.' And the Damrau version? She’s probably more ‘Callas’ than ‘Sutherland’. But where have her ideas about the part come from? 'Lucia di Lammermoor is the most veristic of the bel canto roles,' she explains. 'The madness of Lucia makes it a real role for acting and singing. Lucia’s madness is an illness. It’s not just a vehicle for a soprano to show her skills and her technique. I talked to doctors about that. She is bipolar and you can hear that very clearly in the first aria.' The particularly modern concept of a bipolar bel canto heroine is intriguing and Damrau has clearly thought it through. 'She gets very, very happy and almost frenetic when she talks about her visions. And ill people can have visions – she’s not just the standard ‘romantic’ figure of the time. Because she is bipolar she really gets very dark and very frightened. Everything seems to be real and very dramatic to her.

Click here to purchase the recording.

She’s under great, great pressure because her mother has died and she’s in a really bad situation. This comes to its peak when she finds out her brother betrayed her – that he forced her into a political marriage and everyone around her has actually manipulated her. When Edgardo comes back and curses her and says, 'you betrayed love and you betrayed God', that’s more tension than she can take. Then the illness comes. The madness breaks out and she kills someone.'" [Source] Read Diana Damrau's tribute to Maria Callas by clicking here. You can sample Erato's new recording of Lucia di Lammermoor featuring Diana Damrau. A video of the mad scene from the recording is after the jump.

Rose Hall Will Be New York City Opera Performance Home By 2015

"We plan to return New York City Opera to Lincoln Center in 2015 at an exciting new venue that was designed as one of the world’s finest medium-sized opera houses: the 1100-seat Rose Theater at Jazz at Lincoln Center. Its state-of-the-art technical specifications, acoustic design and spacious orchestra pit make it an ideal new home for City Opera. The shops, restaurants and nightlife of the Lincoln Center will provide City Opera’s patrons with a host of amenities for pre- and post-performance enjoyment as well as easy and convenient transportation options. Since late fall of 2013, our team has laid the groundwork for a successful re-launch of City Opera. A new Board of Directors has been formed; over $2.5 million in pledges of financial support have been secured; artistic alliances have been created with industry leaders at home and abroad; and we have reached a landmark, 5-year agreement with American Federation of Musicians Local 802. With a highly experienced artistic and production team in place, our business plan combines a distinctive and imaginative artistic vision with a streamlined, entrepreneurial structure. City Opera’s return will include a broad slate of educational programs to introduce opera to New York City’s schoolchildren. The company’s commitment to advancing American opera will continue with a revitalized VOX Contemporary American Opera Lab in collaboration with American Opera Projects, and its long tradition of fostering emerging American talent will continue in a partnership with Martina Arroyo’s Prelude to Performance® program. Our first full season will launch in 2015 with details to be announced this spring. We invite you to be part of this exciting new chapter of City Opera’s history." [Source]