GQ Encourages A One-Night Stand With Carmen Based On Bieito

"Calixto Bieito's raunchy production of Georges Bizet's Carmen at the English National Opera proves that opera is no longer for the old (or boring). For those of you hoping to expand your horizons, Carmen is the perfect introductory sampler to whet your appetite and keep you coming back for more. The image of opera-goers squinting into their binoculars with their powdery, wrinkly faces is over. A younger audience is quickly encroaching into operatic territory, and here's why. Opera's saving grace comes in the form of Carmen. Why invest in opera now when we've only just managed to master the musical? Sex, that's why, and lots of it. OK, not just sex, but other themes that we can also relate to such as love (love triangles, unrequited love) and lust....This Carmen could very possibly drive a new (younger) audience to the opera. When GQ saw the production, a lady sitting next to us said, 'It's a bit cruder than I remember,' during the intermission. This surprised us, as Carmen is the definitive story of action fuelled [sic] by sexual tension. The story is almost entirely based entirely on sex, infidelity, and hot-blooded desire. And if that doesn't draw younger people to the opera, we're not sure what will." [Source] For more information about Carmen at ENO, click here. Watch a trailer of the production, and see the full cast performing through July 3, after the jump.

Hopelessly Devoted To You: Don José (Eric Cutler) wants more than one night with Carmen (Justina Gringyte).

A Host Of Talent In "Les Contes D'Hoffmann" At Teatro Real Madrid

Eric Cutler in the title role of Hoffmann
(Photo: Javier del Real/Teatro Real)

Stage director Christoph Marthaler brings together a young cast of invigorating talent including Eric Cutler (Hoffmann), Vito Priante (Four Villains), Measha Brueggergosman (Antonia/Giulietta), Ana Durlovski (Olympia), and Altea Garrido (Stella). The seasoned veteran of the group, mezzo-soprano Anne Sofie von Otter, portrays the character of Nicklausse. Conductor Sylvain Cambreling leads the ensemble. The production premiered May 17 and runs through June 21. For more information on the cast and production dates, click here. Watch a preview video after the jump of highlights from the production.

King Roger Pays a Visit to Kiev as Part of "I, CULTURE"

Tenor Eric Cutler sings in Kiev

"The premiere of the concert per­for­mance of Karol Szy­ma­now­ski’s opera Krol Roger (King Roger) finished the program I, CULTURE (organized by the Polish In­stitute in connection with Po­land’s EU pre­si­den­cy), and became a significant event in Kyiv’s music sea­son. The par­ti­ci­pants of this in­ter­­national creative project in­clud­ed the Symphony Orchest­ra of the National Opera of Ukraine, choir cappella Dumka, famous Po­lish sin­gers Mikolaj Zalasinski (Ro­ger II), Ivonna Hossa (Roxana), Carol Koz­low­ski (Edrisi), American Eric Cutler (Shepherd), Dumka so­loists Oleksii Kriachun (Archbi­shop), and Tetiana Havrylenko (Dea­co­ness). Polish con­duc­tor Michal Klauza was at the helm of the production....I want to emphasize the wonderful performance of very complicated vocal parts made by soloists and choir members of the cappella Dumka. Their voices are amazing! Tenor Eric Cutler who performed Shepherd’s part came specially to Kyiv from America for one soiree only, and early in the morning he is going back, because he has performances at Metropolitan Opera. Mikolaj Zalasinski’s (Roger) perfor­mance was very powerful, Ivonna Hossa created a very persuasive image of Roxa­na. Cappella Dumka and musicians of the Symphony Orchestra of the National Opera did really well." [Source]

"Les Huguenots" Triumphant at Théâtre de la Monnaie in Brussels

"Drawing hearty performances from orchestra and chorus, Marc Minkowski conducts an admirably full account of the opera that runs to nearly five hours (including two intermissions). From his eloquent shaping of the Lutheran chorale 'Ein feste Burg' at the outset, Mr. Minkowski seeks out the music’s expressive potential. He is alert to fine points of orchestration in a score that never sounds formulaic. Clearly at one with the decision to emphasize Marguerite’s sexuality, Marlis Petersen, an acclaimed Lulu from Alban Berg’s opera, sings with seductive brilliance and moves with almost erotic allure — an unforgettable portrayal. Mireille Delunsch stews convincingly over Valentine’s conflict between love for Raoul and loyalty to family and religion. Julia Lezhneva, dressed in hotel attire, looks cherubic as Urbain and sings delightfully in both the page’s arias. The tenor Eric Cutler brings a winning combination of full- and head-voiced singing to the challenging role of Raoul. Soon after he sang his heart out in the fourth-act duet with Valentine — the most popular love duet of the 19th century — he shined again in Raoul’s taxing aria in Act 5. The baritones Philippe Rouillon and Jean-François Lapointe are excellent as the Comtes de Bris and de Nevers, respectively. And as Raoul’s retainer Marcel, the keen-edged bass Jérôme Varnier deals well with the crusty Huguenot’s quasi-comic moments and his stirring celestial vision in the face of death. The performances are double cast. Because of its impact on other composers, few works can be said to have changed the course of opera history as did Les Huguenots. Anyone who cares about opera should see this production." [Source]

An interesting promotional photograph for the opera is after the jump.

(Photos: Clärchen und Matthias Baus)

American Singers Triumph In Meyerbeer For Teatro Real

From left to right: Julianna Di Giacomo, Eric Cutler and Annick Massis (Photo: Javier de Real)

According to the blog Una Voce Poco Fa, the concert version of Giacomo Meyerbeer's Les Huguenots by the Teatro Real in Madrid was a resplendent success. The cast included tenor Eric Cutler as Raoul and Julianna di Giacomo as Valentine. Only three performances were given, but the author reviewing the opera states that it made a lasting impression: "Con todo y con eso, fue una época mágica donde como en el caso de Meyerbeer aparecieron nuevos instrumentos (en “Los Hugonotes”, la viola d´amore y el clarinete bajo) y una concepción de los coros, que adquieren un papel protagonista, evocando tal vez aquellos tradicionales coros griegos clásicos,