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Title:Opera Warhorses — An appreciation and analysis of the 'Standard Repertory' of opera

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Opera Warhorses — An appreciation and analysis of the 'Standard Repertory' of opera Opera Warhorses An appreciation and analysis of the 'Standard Repertory' of opera front page about RSS Recent Posts In Quest of American Operas and Musicals – July to December, 2017 Review: Vittorio Grigolo’s Star Shines Bright in L. A. Opera’s Stellar “Tales of Hoffmann” – March 25, 2017 In Quest of Handel and Vivaldi Opera Performances – May to November, 2017 Review: Sarasota Opera’s Affectionate Mounting of “Love for Three Kings [L’Amore dei Tre Re]” – March 11, 2017 Review: Corinne Winters’ Searing Performance as Seattle Opera’s Katya Kabanova, February 26, 2017 Categories 2005-2016 William's Commentaries (31) 2005-2017: William's Reviews (473) 2008-2017 William's Interviews (95) 50 Year Anniversaries (66) Blazing Batons with Arthur Bloomfield (15) General correspondence (4) Guest Reviews and Commentaries (3) Quests and Anticipations (88) San Francisco Opera DVD Reviews (2) Superlatives (5) Tom's Reviews (42) Tom's Tips (11) William's Conversations (26) William's Conversations with John Pascoe (8) William's Program Notes (6) William's Thoughts and Assessments (12) Archives Archives Select Month April 2017 (1) March 2017 (3) February 2017 (4) January 2017 (3) December 2016 (5) November 2016 (7) October 2016 (7) September 2016 (8) August 2016 (9) July 2016 (7) June 2016 (6) May 2016 (10) April 2016 (5) March 2016 (6) February 2016 (8) January 2016 (6) December 2015 (12) November 2015 (9) October 2015 (5) September 2015 (9) August 2015 (7) July 2015 (9) June 2015 (6) May 2015 (5) April 2015 (3) March 2015 (9) February 2015 (7) January 2015 (6) December 2014 (16) November 2014 (10) October 2014 (12) September 2014 (11) August 2014 (11) July 2014 (10) June 2014 (10) May 2014 (9) April 2014 (4) March 2014 (13) February 2014 (5) January 2014 (7) December 2013 (10) November 2013 (8) October 2013 (8) September 2013 (7) August 2013 (9) July 2013 (12) June 2013 (6) May 2013 (6) April 2013 (3) March 2013 (6) February 2013 (5) January 2013 (5) December 2012 (9) November 2012 (9) October 2012 (9) September 2012 (5) August 2012 (7) July 2012 (8) June 2012 (9) May 2012 (6) April 2012 (5) March 2012 (8) February 2012 (3) January 2012 (4) December 2011 (7) November 2011 (9) October 2011 (4) September 2011 (11) August 2011 (12) July 2011 (8) June 2011 (13) May 2011 (4) April 2011 (8) March 2011 (8) February 2011 (4) January 2011 (7) December 2010 (8) November 2010 (9) October 2010 (9) September 2010 (7) August 2010 (6) July 2010 (9) June 2010 (8) May 2010 (6) April 2010 (2) March 2010 (6) February 2010 (8) January 2010 (5) December 2009 (4) November 2009 (7) October 2009 (6) September 2009 (9) August 2009 (10) July 2009 (5) June 2009 (5) May 2009 (6) April 2009 (5) March 2009 (8) February 2009 (5) January 2009 (5) December 2008 (8) November 2008 (9) October 2008 (8) September 2008 (7) August 2008 (6) July 2008 (5) June 2008 (4) May 2008 (7) April 2008 (4) March 2008 (3) February 2008 (4) January 2008 (5) December 2007 (4) November 2007 (6) October 2007 (5) September 2007 (4) August 2007 (2) July 2007 (4) June 2007 (3) May 2007 (3) April 2007 (3) March 2007 (3) February 2007 (2) January 2007 (4) December 2006 (6) November 2006 (5) October 2006 (5) September 2006 (6) August 2006 (1) July 2006 (2) June 2006 (1) May 2006 (1) April 2006 (1) March 2006 (2) February 2006 (3) January 2006 (7) December 2005 (7) November 2005 (4) In Quest of American Operas and Musicals – July to December, 2017 April 2nd, 2017 I am scheduled to review the following American musical works between now and December, 2017 – an opera and a classic Broadway musical from the first half of the 20th century and two new American operas: Porgy and Bess (George Gershwin), Glimmerglass Festival, July 7, 13, 18(m), 22(m), 27, 29(m), 31(m), August 5, 7(m), 13(m), 17, 19 and 21(m), 2017 Musa Ngqungwana is Porgy and Talise Trevigne is Bess in Glimmerglass Festival’s new Francesca Zambello production of George Gershwin’s (and DuBose Heyward’s) “Porgy and Bess”. Norman Garrett is Crown and Frederick Ballentine is Sportin’ Life. [Below: Musa Ngqungwana as Porgy and Talise Trevigne as Bess in the Glimmerglass Festival Francesca Zambello production of George Gershwin’s “Porgy and Bess”; edited image of a Karli Cadel photograph, courtesy of the Glimmerglass Festival.] Maestro John DeMain conducts. The sets are by Peter Davison and Associate Set Designer Charles Quiggin. Paul Tazewell is Costume Designer and Loren Shaw the Associate Costume Designer. Eric Sean Fogel is choreographer. [For my interview with Musa Ngqungwana, see Rising Stars – An Interview with Musa Ngqungwana.] Oklahoma (Rodgers and Hammerstein), Glimmerglass Festival, July 8, 14, 21, 23(m), 25(m), 30(m), August 3, 5(m), 8(m), 11, 14(m), 20(m) and 22(m), 2017. Vanessa Becerra is Laurey and Jarrett Ott is Curly in Richard Rodgers’ and Oscar Hammerstein’s “Oklahoma”. Judith Skinner is Aunt Eller and Michael Hewitt is Jud Fry. [Below: Baritone Jarrett Ott; edited image of a publicity photograph, from www.jarrettott.com.] James Lowe conducts, Molly Smith directs. The sets are by Eugene Lee, the costumes by Ilona Somogyi. The choreographer is Parker Esse. The (R)evolution of Steve Jobs (Bates), Santa Fe Opera, July 22, 26, August 4, 10, 15 and 25, 2017. Santa Fe Opera is the site of the world premiere of a Mason Bates opera about entrepreneur Steve Jobs, with a libretto by Mark Campbell. Edward Parks sings the role of Steve Jobs. Garrett Sorensen is Woz. Sasha Cooke is Laurene Powell Jobs and Kelly Marksgraf is Paul Jobs. [Composer Mason Bates; edited image of a publicity photograph, from masonbates.com.] Kevin Newbury directs. Maestro Michael Christie conducts all performances except that of August 25, which Robert Tweten conducts. The Girls of the Golden West (Adams), San Francisco Opera, November 21, 24, 26(m), 29, December 2, 5, 7 and 10(m), 2017. San Francisco Opera hosts the world premiere of a new collaboration between composer John Adams and director Peter Sellars (who is also the librettist for “Girls”). The opera is the occasion of the San Francisco Opera debuts of Julia Bullock as Dame Shirley, Davone Tines as Ned Peters and Ryan McKinny as Clarence King. J’Nai Bridges is Josefa Segovia, Paul Appleby is Joe Cannon, Hye Jung Lee is Ah Sing, Elliot Madore is Ramon and Lorena Feijoo is Lola Montez. [Below: A contemporary image of San Francisco at the time of the Gold Rush, courtesy of the San Francisco Opera.] Maestro Grant Gershon (San Francisco Opera debut) conducts. David Gropman designs the sets, Rita Ryack the costumes. John Heginbotham is choreographer. This list is supplementary to previous lists in this “Quests and Anticipations” series of selected operas being performed through August 2017: Johann Strauss’ “Die Fledermaus” at the Santa Fe Opera [See In Quest of Operatic Comedy – July 2016 – August 2017.] Wagner’s G?tterdammerüng at the Houston Grand Opera [See In Quest of ...

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