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2023-09-27 20:42:00
[…] He launched his career at the Dallas Opera in the 1980s, serving as the assistant to Roberto Benaglio, a renowned chorus master of La Scala. He joined the Met in 2006, following a 16-year tenure as chorus master at Lyric Opera of Chicago. Palumbo was also the music director of the Chorus pro Musica of Boston and served as chorus master of the Canadian Opera Company, Dallas Opera, Banff School for the Arts Summer Opera Program, Opera Company of Boston, and Opera Theatre of Saint Louis. In Europe, he held the position of chorus master at the Opéra de Lyon, Festival d’Aix-en-Provence, and Teatro Massimo in Palermo. From 1999 to 2001, he was the chorus director of the Salzburg Festival, the first American to hold that position. Since 2014, Palumbo has been a vocal coach for the apprentices of the Santa Fe Opera and has worked with the young artists at the Glimmerglass […]
The Boston Musical Intelligencer
2016-10-05 16:02:52
Remembering Boston’s Divine Sarah
With opera returning last week to the Boston Opera House thanks to Boston Lyric Opera’s production of Carmen, an older opera buff’s fancy turns to thoughts of the Caldwell era in that house, and perhaps as well to rumination over the state of grandly staged opera—or the lack thereof—in our fair city. Most will agree, I suspect, that the tenure of Sarah Caldwell’s Opera Company of Boston (OCB) on Washington Street (and earlier at the Orpheum and elsewhere) constituted the golden age of opera in Boston during the last half century. The Opera House (originally the B. F. Keith Memorial Theater, which opened in 1928 and was the scene of movies and vaudeville until acquired by the OCB in 1979) never proved a perfect opera venue: the orchestra pit too small for most Wagner or Strauss, uneven acoustics, and inadequate space backstage and in the wings, to name just a […]
2016-05-22 20:07:41
[…] to remain “angels in the kitchen” under male protection that creative women in classical music are still marginalized. They are promoted and supported, but how many females, with the exception of the late, great Beverly Sills run opera houses? Sills’ beloved New York City Opera vacated its Lincoln Center home of 50 years due to financial woes [opera is not cheap to run], and has been suffering ever since. The late Sarah Caldwell founded the Opera Company of Boston and she was both its director and its conductor for over thirty years. She was able to attract renowned singers Joan Sutherland, Beverly Sills, John Vickers, and Placido Domingo to perform with her Opera Company of Boston.The late Carol Fox was one of the founders of Chicago’s Lyric Opera; Ardis Krainik took over until 1997 and ran it until her death. Her successor was a man. Soprano Renée Fleming became Chicago […]
2016-02-04 17:40:48
Love hears, love knows, love answers
[…] Francisco Opera where she had earlier appeared as Louise, Marguerite and Freia in 1967, the same year as this Anne Trulove. Earlier in her career she performed at the New York City Opera and returned there occasionally in the 1970s, most notably as Ginastera’s Beatrix Cenci and in La Fanciulla del West. A career highlight was appearing as Natasha in the 1974 US stage premiere of Prokofiev’s War and Peace with Sarah Caldwell and the Opera Company of Boston. She reunited with Mackerras, her Rake maestro, in 1980 in Richard Strauss’s Die Liebe der Danae for a BBC broadcast. But throughout her performing career her home theater remained Hamburg where she made a number of opera films, including Menotti’s Help! Help! The Globolinks! (with the rest of the world premiere cast), Le Nozze di Figaro, Der Freischütz, and Meistersinger opposite Cassilly and Giorgio Tozzi. She’s also known for her […]
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