press release:
Moscow – New York, (October 9, 2017) In their first co-production collaboration ever, the Bolshoi and the Met announced plans today to jointly create new productions of Aida, Salome, and Lohengrin, with performances to take place in New York and Moscow between 2019 and 2022. The two companies will pool their creative and technical resources to develop and build the new productions, with the Bolshoi performing the productions at their theater in Moscow and the Met performing them in New York.
Although complete casting and creative teams are not ready to be announced, Aida will be staged by Tony Award winning American director Michael Mayer, Salome will be staged by the highly regarded German director Claus Guth, and Lohengrin will be staged by the English director, Phelim McDermott, whose acclaimed production of Philip Glass’ Satyagraha played at the Met in 2011. Russia’s leading soprano, Anna Netrebko, will perform in all three operas, both at the Bolshoi and at the Met, singing the title roles in Aidaand Salome, and the role of Elsa in Lohengrin.
Yannick Nezet Seguin, who will become the Met’s Music Director with the beginning of the 2020/21 season, will conduct the initial Met performances of each production in New York, and Tugan Sokhiev, chief conductor of the Bolshoi, will conduct Salome and Aida in Moscow.
Although the Met and the Bolshoi have never worked before as co-producers, there is a long history of Bolshoi performances at the Met, dating back to 1959 when the Bolshoi Ballet performed at the Met for the first time. The Met has not performed in Russia.
Vladimir Urin, General Director of Bolshoi Theatre said: “I am incredibly pleased that our new relationship, which has been in discussion for a year now, will happen and will result in several opera masterpieces appearing in New York and in Moscow. To collaborate with this great theatre has been a longtime dream.”
Peter Gelb, General Manager of the Metropolitan Opera said: “We’re very pleased to be partnering with
such a renowned company as the Bolshoi and to be pooling our resources with them.”
Negotiations for the new co-production arrangement began in the summer of 2016 when Urin and Gelb met for the first time at a meeting arranged by John Berry CBE, an advisor to the Bolshoi and former chief of the English National Opera. Irina Chernomourova, the head of the long-term planning department of the Bolshoi, will be responsible for implementing the project for the Russian company.
press release:
Moscow – New York, (October 9, 2017) In their first co-production collaboration ever, the Bolshoi and the Met announced plans today to jointly create new productions of Aida, Salome, and Lohengrin, with performances to take place in New York and Moscow between 2019 and 2022. The two companies will pool their creative and technical resources to develop and build the new productions, with the Bolshoi performing the productions at their theater in Moscow and the Met performing them in New York.
Although complete casting and creative teams are not ready to be announced, Aida will be staged by Tony Award winning American director Michael Mayer, Salome will be staged by the highly regarded German director Claus Guth, and Lohengrin will be staged by the English director, Phelim McDermott, whose acclaimed production of Philip Glass’ Satyagraha played at the Met in 2011. Russia’s leading soprano, Anna Netrebko, will perform in all three operas, both at the Bolshoi and at the Met, singing the title roles in Aidaand Salome, and the role of Elsa in Lohengrin.
Yannick Nezet Seguin, who will become the Met’s Music Director with the beginning of the 2020/21 season, will conduct the initial Met performances of each production in New York, and Tugan Sokhiev, chief conductor of the Bolshoi, will conduct Salome and Aida in Moscow.
Although the Met and the Bolshoi have never worked before as co-producers, there is a long history of Bolshoi performances at the Met, dating back to 1959 when the Bolshoi Ballet performed at the Met for the first time. The Met has not performed in Russia.
Vladimir Urin, General Director of Bolshoi Theatre said: “I am incredibly pleased that our new relationship, which has been in discussion for a year now, will happen and will result in several opera masterpieces appearing in New York and in Moscow. To collaborate with this great theatre has been a longtime dream.”
Peter Gelb, General Manager of the Metropolitan Opera said: “We’re very pleased to be partnering with
such a renowned company as the Bolshoi and to be pooling our resources with them.”
Negotiations for the new co-production arrangement began in the summer of 2016 when Urin and Gelb met for the first time at a meeting arranged by John Berry CBE, an advisor to the Bolshoi and former chief of the English National Opera. Irina Chernomourova, the head of the long-term planning department of the Bolshoi, will be responsible for implementing the project for the Russian company.
Long-serving musicians of the Royal Opera House have voted to take a cut in their pay rise in exchange for an improved pension scheme for new members.
Read here.
Jessica Duchen describes an experience shared at some time or other by every concertgoer: the moment when a tickle in the throat turns into a fear of massive organ failure if you don’t somehow clear the passage.
What to do? And how to do it without being spotted?
Read Jess here.
The Priest-in-Charge of St Sepulchre’s, the Revd David Ingall, has been forced by pressure to relax his ban on musicians hiring the church for rehearsals and performances.
Under a deal struck in the past few days they will be allowed to use the so-called Musicians Church one Saturday each month. It’s not much, but it saves face.
Noam Aviel has been named assistant conductor at the San Antonio Symphony.
She’s a graduate of the music faculties at Tel Aviv and Illinois universities.
Neale Perl was head of Washington Performing Arts until 2013, when he left without giving a reason.
Now, he has resigned as president and CEO of Scottsdale Arts.
A free spirit.
Read here.
It’s what Jean-Yves Thibaudet pulls on over his trademark red socks.
The red soles are the giveaway.
Fashionistas identify them as Louboutins.
We’re talking $1,000+ a pair.
And the jacket’s a toned-down Liberace tribute number.
From the Guardian:
At Feversham, the headteacher, Naveed Idrees, has embedded music, drama and art into every part of the school day, with up to six hours of music a week for every child, and with remarkable results. Seven years ago Feversham was in special measures and making headlines for all the wrong reasons. Today it is rated “good” by Ofsted and is in the top 10% nationally for pupil progress in reading, writing and maths…
Read on here.
Russell Platt in the New Yorker has written a shrewd assessment on the impasse over the New York Philharmonic’s concert hall at Lincoln Center.
A half-billion dollar upgrade has been scrapped after the orchestra got cold feet about spending too long in exile. Donors are not rushing forward to match David Geffen’s naming gift. So what now?
Read here.
The conductor, still recovering from a fall earlier this year, has cancelled the Boston Symphony in November. Andris Nelsons will take over his concerts.
Thursday’s performance of Der Freischütz at Hamburg State Opera was stopped when the conductor, Christof Prick, fell ill and was rushed to hospital.
An 35-minute interval was called. But since no other conductor was available the performance was then abandoned.
Prick, who is 70, is reported to be in a stable condition.
