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Artículos sobre Opera

Mostrando 61 - 80 de 106 artículos

Saul at the Adelaide Festival: the early scenes feel like hallucinatory dreamscapes unanchored in space. Tony Lewis

Barrie Kosky’s Saul: a masterpiece of operatic staging

With its themes of family dysfunction, love, death, madness and the supernatural, this Old Testament story is ready-made for opera.
A mosaic of King Roger II: we should celebrate his 12th-century example of inter-cultural collaboration. Matthias Süßen/Wikimedia commons

What can the medieval King Roger teach us about tolerance?

A new production of the opera King Roger will open this week. At a time when Europe was charged with fear of the ‘Muslim threat’, this 12th century king collaborated with an Islamic scholar on an extraordinary project.
Circus and opera crash together in Cirque de la Symphonie. Daniel Aulsebrook

Sequins and symphonies: how opera ran away with the circus

Barriers between artforms are tumbling down in three recent productions that mix circus and opera. The shows range from sombre to silly, but all hit magnificent high notes.
Design for upgrades to the Sydney Opera House Concert Hall. Courtesy Sydney Opera House

The Sydney Opera House upgrade deserves a single guiding vision

The Sydney Opera House is getting an A $200 million upgrade. It’s a chance to rectify some glaring faults, but in our risk-averse times, the outcome will be decided by committees.
Attempts to explain opera’s affective power have a long history. Photo: Keith Saunders. (L-R) Voyage to the Moon's Phoebe Briggs, Jeremy Kleeman, Emma Matthews, Sally-Anne Russell.

Voyage to the moon, opera and the voyage of human emotion

It seems obvious to say that opera “moves” people. But the question of “how” it moves people is far less straightforward. Cue a new research project pegged to Voyage to the Moon.
The voices that can be used in a show like this are not those one would hear in Madama Butterfly. Patrick (Peter Cousens), Ellen (Melissa Madden Grey), The Divorce. ABC TV.

It’s TV! It’s opera! What to make of ABC’s The Divorce

The kinds of voices that can be used in a show like ABC’s The Divorce are certainly not typical of those one would hear in Madama Butterfly. But – and let’s be honest for a second – does it matter?
Kurt Weill and Bertolt Brecht’s last collaboration The Seven Deadly Sins, first performed in 1933, in circumstances not dissimilar than those we face today. Pictured: Meow Meow. Victorian Opera

How now Meow Meow? The Seven Deadly Sins is a Weimar Opera with 21st-century resonance

Victorian Opera this week stages The Seven Deadly Sins, the final collaboration between Kurt Weill and Bertolt Brecht. First staged in 1933, it is a masterpiece by two of the most revolutionary artists of Weimar Germany.
Rabbits transgresses the increasingly porous boundary traditional opera and contemporary musical theatre to great effect. Jon Green

A genre-hopping triumph: The Rabbits

The Rabbits has adapted Shaun Tan’s evocative paintings and John Marsden’s spare storytelling into a rich and compelling “opera”.
At its best, opera can, indeed, be a powerful form of allegorical theatre. EPA/Gian Ehrenzeller (Image from Verdi's I due Foscari)

Opera, sexual violence, and the art of telling terrible tales

A gang-rape scene in a new London staging of Rossini’s Guillaume Tell was greeted with audience booing, and has sparked ongoing controversy. Are opera directors at risk of miscomprehending the medium?

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