I personally think Mireille is probably his best opera combining very atmospheric orchestrations and melodic lines with a story that has space to breathe a bit - Faust and R+J seem somewhat rushed in their pacing in comparison (although I do love them as well). I also appreciate sections I've listened to so far of the more obscure ones, of which I like La nonne sanglante and Le tribut de Zamora the best.

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Normally when I go to the opera I prefer not to read the synopsis beforehand. Of course I miss some details, but I never felt that I missed the story completely. This time, however, I am going to see "Life with an idiot" by Schnittke and I read that the story is rather complex, so I fear I would miss important points. And since there is no break, I cannot read up on it in the break. Do you guys think I should read it?

Thank you for the answers

I'll explain as best I can. It was an opera that had at least two intermissions as it was long for sure. As far as the story I can remember: There is a father that has a daughter who ends up falling in love with a boy, but the father does not approve of him. I think it has to do with the family he is in. I know it sounds like Romeo and Juliet, but it isn't because I remember the characters either being that of mythical creatures or having names that wouldn't normally be given to humans if that makes sense. Also neither the boy or girl dies in it. Sorry if that is not enough information. This was back in 2011-2013 from what I remember and they showed it in movie theathers so it could be watched all over the country (US).

Update: To those that said "The Enchanted Island" I think you are right. After watching some videos I could find, that opera looks to be the one I was looking for. The characters look very familiar and the names sound familiar also. Thanks for all your help. My orchestra class had watched this opera in middle school because my orchestra teacher thought it would be good for us to go to the theather to see it.

This is the last opera by Sandström before his passing in 2019. There were talks about premiering it at/with Norrköpings symfoniorkerster, which then happened in 2022. Now Swedish Radio is broadcasting it and I think it is available worldwide.

The story is based on a book ”The Book” by Niklas Rådström and is a sort of re-telling of parts of the bible. I unexpectedly, since modern opera usually demands a lot of me and I am not particularly religious, enjoyed it immensely so I figured perhaps someone here also would.

Below is the link to the broadcast and there is an introduction in Swedish until about 03:45. The libretto is in English and a link to it is also provided in the program description. https://sverigesradio.se/play/avsnitt/2482368

Just out of pure curiosity, why do opera houses not retain top performers the way ballets keep principal performers on staff? Principal dancers have the occasional guest role at other places but still primarily star in their home theater. Why doesn't, or why can't the opera use this same format? I apologize if this is a dumb question.

Edit:
Thank you, everyone, for your responses; they definitely answered my question. Unsurprisingly, I come from a US understanding of opera, but I'm delighted to know that the structure I described above is commonplace in Western Europe. It's really lovely to see that performers receive benefits and paid leave. I'm just a casual operagoer, but this question has always bugged me.

I have been obsessed with this but cannot find where it is from. Any help would be greatly appreciated! Thank you!!!!

Hi, I’m interested in listening to some singers who are especially unique- whether or not you or I might find their style / timbre attractive.

I have currently Kauffman and Hvorostovsky for their quite covered sounds (used to love this when I first got into opera, not so much anymore). Hvorostovsky also for his invasively audible gasps (thought this was perfect for the death of Rodrigo… not so much for most of anything else). Corelli, for his lisp, unusually aggressive attacks, and aspirates (“di-le-heh-guar!”). It’s hard to describe but Corelli also sounds like he’s about to cry. I’m quite drawn to his “faults” and character.

Who else would you add to the list of especially unique singers? I know that I've only mentioned popular singers, since I am still new to opera. Please suggest some new singers for me to broaden my horizon :)

I have auditions for college at the end of the month. I've been practicing every day but for half the hear my voice is crippled from allergies. It sounds like my throat is full of cotton and I can barely sing. I already felt unconfident in my singing but my deadlines are approaching and I'm so scared. Everyone who's gonna get accepted has probably had a coach since they were a baby they see all the time and I just got a teacher by scraping my own money together. I sing to tracks in my room I don't think I have any chance. I sound like a Disney princess not an opera singer. I'm so stressed out and I feel like I'm gonna break. My practicing hasn't done anything for me when my voice is never in shape. Every fall I cough so hard I vomit like all the time. I just got through that but im still congested. I dont have time to wait it out and to get breaks. I barely memorized these songs. I had to scrap the song I knew because it was too hard for me. I feel like I'm kidding myself. Especially with my parents telling me word for word I'll never become an opera singer. I sound stupid. I dont know what to do.

Help me why is it I dread modern operas especially ones in English …Anyone enjoy them how did u start ?

I’ve just bought two tickets for the Young RBO night performance of Puccini’s La Boheme, however I’ve realised that my companion will be over the age of 25 by the performance date. Does anyone know if they tend to check ids if you have a Young RBO ticket? I know it says on the website that they may check, but if anyone has more experience with this and could let me know, it would be really appreciated. For what it’s worth, I’m still eligible for the young RBO tickets, it’s just my companion that wouldn’t be.

Just came across this Facebook post:

Calling all Puccini lovers!📣

This November marks the centenary of Giacomo Puccini’s death. To honor this significant anniversary and celebrate the Met’s long and distinguished history with the great composer’s masterpieces, we’re making all Puccini titles available on Met Opera on Demand free to stream through November 30. Catch all your favorites, including our 2024 production of Madama Butterfly, starring soprano Asmik Grigorian, and countless others!

Watch now: bit.ly/3OIX2Qb

Happy November!

Last night I kept thinking of Die Zauberflöte until I suddenly realized why.

On November 1, 2009, when I was twelve, I saw Die Zauberflöte, one of my favorite operas, for the first time live in full, in a charming interactive production by Alain Maratrat (the one time I kinda saw this opera live before was at a children's musical theatre where the plot was turned into a "show within a show" and the actual music cut to a minimum -- needless to say, it was a huge disappointment). It was absolutely lovely! I've watched it more than a dozen times live since. I can't count how many times the music has inspired my writing or helped with my work.

That performance's full cast is no longer accessible now, but I remember most of them, because they were utterly brilliant, and many of them I've seen in other pieces later.

The bass-baritone who sang Papageno became my favorite singer -- he always brought amazing depth to his dramatic roles and incredible cheer to his comic ones. He passed away suddenly almost eight years ago, at only thirty-seven. It was an awful shock that now brings a bittersweet note for me when I listen to Die Zauberflöte or other operas with his best roles.

The soprano who sang the Queen of the Night still performs, but less frequently than before. I saw her as Olympia last year, and she still occasionally sings the Queen, but I don't see her name in the playbill as much as I used.

Ditto (even more so) for the tenor who sang Tamino – I've seen him maybe a couple of times in recent years, once as Lysander in Britten and once as one of Dulcinee's suitors in Don Quichotte.

As can probably be expected, the performers of the parts of Sarastro and Monostatos are far less affected by the time gone by. Both continue to appear regularly in all kinds of operas.

The former in particularly steals the show in comic operas, with, for instance, his Village Head in May Night or Simone in Gianni Schicchi constantly among the highlights of the evening.

The latter is, just like fifteen years ago, great at making even the worst villains look sympathetic and tormented, and the most ridiculous comic characters -- layered and deep. And the latter part I have from an unbiased source. My stepmother, who had practically never watched opera before, saw him in May Night as the Distiller (a near-grotesquely comic part), and was so impressed she still remembers him two years later.

Our theatre has made a new production of Die Zauberflöte, now sung in the original German, which is good, but… that's really all I can wholeheartedly praise it for. Maybe I'm biased (my stepsister, for example, loved it), but I watched it once and was disappointed at how static it was. Regrettably, it's now performed far more often than the older one.

Without Die Zauberflöte, I wouldn't have started learning German or at least definitely wouldn't have learned it as quickly (no joking, it's my fastest-mastered language). The opera's libretto was the first thing I read in German, downloading it after the first lesson, and I can still point to phrases from which I learned this word or that grammatical rule.

(A minor clarification: while one of the first really memorable operas for me, it wasn't the first opera I ''ever'' saw).

I don’t really listen to operas but I heard of this and I like to read can I get it as a book?

Does anyone have a good recommendation for luggage storage near Lincoln Center. It probably will only be backpack size but after talking to the Met I’m concerned they won’t check it.

I'm 17 and I'm going to college soon. I decided on new york and hopefully NYC but not limited to that. But what do I do besides get my education? Like what kind of multitasking. And when I graduate do I just Google auditions? I know people take expensive flights for the job but if i stay in NY will I not have to? I'm a penny pincher and my family is poor so I'm at a huge disadvantage. Can someone outline how their life went? Thank you

Attention: both showings Saturday Canada Fusion Opera TOUR DE FORCE "The Propmaster's Dream" Saturday, November 2, 2024 Showtimes - 2:00 PM & 7:30 PM Venue - Vancouver Playhouse

Description

The Prop Master's Dream" Fusion Opera Premiere Highlights

VANCOUVER CANTONESE OPERA PRESENTS THE PROP MASTER’S DREAM

A fusion Cantonese opera about the life of a Chinese-Indigenous prop master performed in Cantonese & English (with Chinese & English surtitles

On November 2, 2024 (Saturday), Vancouver Cantonese Opera will present The Prop Master’s Dream at the Vancouver Playhouse (600 Hamilton Street, Vancouver). This fusion Cantonese opera tells the legendary life story of (1929 - 2000), a legendary prop master born to a Chinese father and an Indigenous mother in B.C.

About the Production

The Prop Master’s Dream is a two-hour production that explores Gwan Wah-Kwan's remarkable life journey. The story follows Wah-Kwan as he returns to Canada, confronting numerous challenges, including identity issues, and uncovering the historical and cultural legacy of the Chinese community in Vancouver through Cantonese opera, Indigenous drumming, and modern jazz music.

"The Prop Master’s Dream is a bold reinvention of the Cantonese Opera art form that shines alight on the long history of Chinese-Indigenous relations in B.C.,” explains Rosa Cheng, Executive Director of Vancouver Cantonese Opera and also script-writer of The Prop Master’s Dream. “The story features themes of connection, adversity, friendship, and history - all that is still relevant today. I hope this opera will bring people together through art and further highlight Cantonese Opera to those who are familiar and those who may be new to it.”

Cheri Maracle, an Indigenous Canadian actress and musician of Mohawk-Irish descent, will play the role of Wah-Kwan’s birth mother. Composers Leo Lee from Hong Kong and Peter Tam from Vancouver have created something utterly unique in the musical score that features diverse instruments from the East and West. Leo and Rosa worked closely with a team of cultural advisors and Indigenous mentors to develop the Chinese language script that will be performed with English subtitles.

Creative Team

Leo Lee, Cantonese Opera Composer and Playwright

Peter Tam, Composer and Sound Designer

Rosa Cheng, Scriptwriter, Artistic Director

Hon Xun Tan, Percussion Director

Christine Leong, Music Director

Principal Cast

Jacky Lam, Wah-Kwan

Rosa Cheng, Phoenix, Wah-Kwan's adoptive mother

David C. Tam, Hok Leung, Wah Kwan’s adoptive father

Cheri Maracle, Lucy - Wah Kwan’s birth mother

David W. Tam, Gwan, Wah Kwan's birth father

Becky Lee, Ah Lan, Gwan’s first wife in China

Hon Lam Chan, Ming, Wah Kwan’s friend

Gerry Sung: Rapper (Narrator)

About Vancouver Cantonese Opera

Vancouver Cantonese Opera is uniquely situated as a Canadian arts organization deeply rooted in its local community yet maintaining global ties to the opera in China, Hong Kong, and North America. These connections have a long history, as the opera first arrived in British Columbia in the mid-19th century with the Chinese migrant workers who came to work in gold mines, railroad construction, and Chinatown businesses. For over a century, Cantonese opera has played a vital role in the cultural and spiritual life of the Chinese diaspora. It defined the cultural heart of the North American Chinatowns as a communal activity that connected people of all ages and backgrounds, including non-Chinese communities who first encountered China’s songs and stories through the opera.

Cantonese Opera continues to play a vibrant role in marking the major festivals of the Chinese lunar calendar in B.C. and around the world. Today, these festivities garner global audiences; they are widely celebrated by diverse Canadians, as in Vancouver’s annual Chinese New Year parade that attracts over 100,000 participants. In 2009, UNESCO duly recognized the profound contributions of Cantonese Opera as an Intangible Cultural Heritage of Humanity.

Our mission is to preserve and promote the art of Cantonese Opera in Canada. We are dedicated to presenting this unique tradition at the highest level of artistic excellence for both Chinese and non-Chinese audiences. What distinguishes our work from other Chinese opera troupes throughout North America is our mandate to reach diverse viewers, including families, seniors, and youth. Our performances are always bilingual, incorporating live translation and English/Chinese subtitles.

Connect with Us

YouTube: Vancan Opera Channel

Instagram: @vancanopera

Facebook: @vancanopera

X.com: @VancanOpera

We are grateful to live and work on the unceded and ancestral lands of the xwməθkwəyə̓ m

(Musqueam), Skwxwú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations.

TICKETS -

Experience the amazing fusion! Haudenosaunee-Irish actress and singer Cheri Maracle brings her voice to Cantonese Opera!

The Prop Master’s Dream 道具大師的尋根夢 *English subtitles available on the show Date: November 2, 2024 (Saturday) Venue: Vancouver Playhouse (600 Hamilton Street, Vancouver) Show Time: 2:00 PM and 7:30 PM Ticket Price: $40, $50, $60 + applicable taxes and service fees Online purchase: https://www.showpass.com/o/vancouver-cantonese-opera

Rosa Cheng Peter Tam Music Heart of the City Festival City of Vancouver - Cultural Services

More info:

Symptoms started last Thursday with a sore throat, but then evolved into a fever, nausea, chills, body aches, fatigue, dizziness, headache, etc. on Friday afternoon. My fever broke Sunday evening but I have not been able to shake this goddamn cough. I have been to three different doctors (granted, none of them ENTs) and have been put on five prescription drugs to try and shake all the symptoms of this off before my performance next week. Luckily (I guess) it seems to be a lower respiratory infection so it's not giving my vocal cords too much inflammation (which they also did give me a steroid for, so that may also be keeping it at bay), but I cannot shake this cough! I have tried every medicine under the sun (Mucinex, generic expectorant and cough-suppressant, NyQuil, DayQuil, Vitamins B, C, D, Zinc, Iron, prescription coughing pearls, saline vocal nebulizer, albuterol vocal nebulizer at the doctor's office, OTC inhaler) and nothing has worked as well as I hoped it would. They've done every test under the sun (strep, adenovirus, all of the coronaviruses, metapneumovirus, rhinovirus, enterovirus, both influenzas, all parainfluenzas, pertussis a.k.a. whooping cough, chlamydia, and pneumonia), all of which came back negative. They even did chest X-rays and couldn't find anything to point to what this might be/how to treat it, so they gave me antibiotics and the coughing pearls, which are working okay, but I want to be rid of this cold ASAP!!!

TLDR: How do you get rid of a cold, or more broadly, sickness in general?

Hello opera people! I just got my hands on a ticket for this Saturday's Romeo et Juliette, in the Founder's Circle. While I know there is no official dress code for LAO, does anyone know is the standard of dress is more formal for opening nights, or in the Circle? I am happy to go full formal gown when appropriate, but usually do cocktail for LAO.

I waited WAY too long to start an assignment and need to interview people ASAP. I know, I should have started sooner but I completely forgot about it and now I need to do my absolute best to make up for that.

Questions include:

- When you started as an opera singer, how often were you turned down for roles?

- How has your voice changed, if at all, since you began your career?

- How long have you been singing opera?

-What is your favorite role so far?

- Do you have a degree in music? If so, what is your highest level of education?

- Do you get performance anxiety?

- Do you have a job outside of performing to support your income?

- If so, is it a music related career?

EDIT: Thank you all so much for your responses!! I definitely have enough data for my project now but would be so very interested in reading more about your stories!

For me, I think its obviously Carmen Act II. Any other ideas?

Opera- no chorus. Rewrite.

I’m wondering if anyone knows of an opera with no chorus, a leading mezzo and bari. Full scale with 2 acts and is a reorchestrated version. I think it’s contemporary? I can’t put my finger on what the name is. Any help would be appreciated!

Hi y'all!

I'm currently a senior in college graduating with a BM in Vocal Performance and a BA in linguistics, and I've been going through the whole prescreen process in hopes of figuring out a grad school that fits me.

My main issue is that besides singing, I also have a passion for research and pedagogy, so I'd like to eventually gain a professorship position somewhere, and although everyone says "find a good teacher and financial deal, and ignore the name", it's hard to do that when it seems that every teacher I find at the smaller-name schools has a Master's degree from a larger-name school.

I guess my big question is, how much does a name really matter if you're trying to not only perform but also potentially teach college-age students in the future?

(For context, the schools I'm currently looking at are Northwestern, McGill, CU-Boulder, FSU, LSU, TSU, and Texas A&M-Commerce, with NEC, MSM, Rice, CCM, UMaryland, IU-Jacobs, and Eastman as the "biggest names" I'm considering.)

What if it was transformed into a French opera entirely redone for artistic and operatic purposes?

No seriously think about it

A common theme in operas is they like to start off with men talking about the ladies? I don’t know if it’s common actually but I recently watched Carmen and Manon and it’s interesting it happened twice. I recall other musicals in the past doing this as well. You guys notice that or is it just me