washington concert opera
the guild for washington concert opera is a support organization that offers educational / social programs to enhance audiences’ experiences with washington concert opera .
the washington concert opera brought out the best in rossini' s
otello .
holding the baton: walker led the washington concert opera performance of
cenerentola .
learn about the history of washington concert opera and where we' re heading in the future .
to make a donation, click below or call the washington concert opera office at 202 - 364 - 5826 .
the washington concert opera will present “hérodiade, ” with joyce el - khoury and michael fabiano, on nov. 20 .
may 23, season preview concert of washington national opera at the kennedy center, emmanuel villaume, conductor. more info .
opera in the outfield - washington national opera | the john f. kennedy center for the performing arts
rene barbera and eglise gutierrez in washington concert opera' s production of bellini' s “la sonnambula. ” (don lassell )
if you are interested in having washington concert opera visit your program in this capacity, please call 202 - 364 - 5826 .
the washington concert opera probably didn’t mean to show up the washington national opera when it scheduled bellini’s “la sonnambula” on sunday afternoon at lisner auditorium, the day after the wno opened its season with donizetti’s “ anna bolena. ”
from washington national opera. for an assessment of the a cast, see the ionarts
march 2017
viva la zarzuela
concert with vero beach opera on march 25th .
vivica genaux contributed to a satisfying evening of concert opera at lisner auditorium on sunday, as the washington concert opera celebrated its 30th anniversary with a gala. the group’s music director is antony walker, center. (don lassell )
donations to washington concert opera, a 501 (c) 3 non - profit organization, are tax - deductible to the extent provided by law .
washington concert opera is proud to announce its 2015 - 2016 season. this season wco returns to bel canto with gioachino rossini' s semiramide (november 22, 2015), and gaetano donizetti' s la favorite (march 4, 2016). true to washington concert opera' s mission, both are rarely performed opera masterpieces .
performance review: washington concert opera celebrates thirty years with gala concert (a. meade, v. genaux, m. angelini, j. arrey, j. hacker; lisner auditorium, 18 september 2016 )
“proving up” librettist royce vavrek and composer missy mazzoli. washington national opera’s american opera institute will premiere mazzoli’s one - hour opera this season. (scott suchman / scott suchman )
other recent performances include marcellina le nozze di figaro with lyric opera baltimore, frugola and la zelatrice in puccini’s il trittico with baltimore concert opera, the verdi requiem for the annapolis chorale and teresa in la sonnambula with washington concert opera, aurelia in the chocolate soldier at the bard festival, a return to annapolis opera to sing marcellina in le nozze di figaro, the witch in hansel and gretel for opera on the james, emilia in otello with opera roanoke, and mama lucia in cavalleria rusticana for toledo opera, a role she repeated in critically - acclaimed concert performances opposite dolora zajick and the late salvatore licitra with washington national opera .
sunday at lisner auditorium, however, the washington concert opera gave reason, if not to learn the opera by heart, at least to hear it with interest and enjoyment. the reason was tenor michael fabiano .
washington concert opera’s 30 years of the greatest performances of seldom heard operas, dedication to championing established and emerging artists, and education initiatives is only made a reality through your support .
world class singing, incredible performances, and more are in store for you this season at washington concert opera. we invite your group to join us for the power, passion, majesty, and drama of opera .
at least since montserrat caballé made her u. s. debut with the american opera society at carnegie hall in 1965, concert opera performances have been among the most vocally exciting events of the operatic year. the washington concert opera certainly upheld this on sunday night with a sumptuously cast, sumptuously sung performance of massenet’s “hérodiade. ”
at opera theater of st. louis, baltimore opera in 2004, and even
we came perilously close to losing the washington concert opera two summers ago. the troupe, which has presented concert performances of rare and unusual operas here since 1986, had made an ambitious but prohibitively expensive move to the kennedy center concert hall and suddenly realized it was going broke, with an annual deficit that had climbed to $ 200, 000 .
washington concert opera (wco) was founded in 1986 by conductor stephen crout as a fully professional company with the mission of bringing high quality, but seldom performed, operas in concert format to audiences in washington, dc at affordable prices. in 2003, maestro antony walker assumed the title of artistic director and conductor and continues this mission. to date, wco has produced 45 operas and has introduced hundreds of emerging and established artists to metropolitan washington, dc audiences. wco repeatedly receives rave reviews in the washington post, the washington times, and other media outlets and music blogs for its consistent level of artistic excellence .
revisiting several of the most memorable evenings in wco’s history, three exhilarating visitors to the lisner auditorium stage shared their singular insights about what makes washington concert opera as special for artists as it is for audiences .
washington concert opera’s motto captures what a concert opera performance is about :
it’s all about the music .
a concert opera is a complete, full - length opera presented with the soloists, orchestra, chorus and conductor on stage. there are no sets, costumes or props to distract the eye…and ear... from the operatic score. the focus is entirely on the performers and their dynamic interaction with their audience. there is nothing to upstage the music and dramatic interpretations at hand .
nationals park is located at 1500 south capitol street se, washington, dc 20003 .
with this move, the organization, which has been facing a stubborn decline in attendance in recent years, has at once secured a nationally regarded vocal expert and a favorite local son. russell, 54, worked at the washington opera before going on to run the wolf trap opera as general director and co - found, with stephen crout, the washington concert opera in 1986. russell left washington in 1997 to take over the metropolitan opera’s lindeman program for young artists, and he then served as general director of opera colorado from 2001 to 2007 .
concert opera is a specialized genre that tends to be beloved by voice junkies who can mainline on pure sound without the distraction of props and wonky productions. concert opera companies, therefore, tend to be good at putting on opera galas, since, in effect, all of their performances are galalike. and the washington concert opera, at its 30th ­anniversary gala sunday night at lisner auditorium, certainly presented a satisfying example of the genre: lots of music, effectively presented, and some memorable singing .
companies with which she has performed include the aldeburgh festival, annapolis opera, banff festival for the arts, ecov, the opera company, opera north, scottish opera, san francisco opera’s touring company western opera theater, and many others. she is also a frequent recital and concert performer, with numerous appearances throughout europe and the united states .
, who was born in 1808. bartoli recently gave a concert in lucca' s
the last concert, berlin philharmonic, c. abbado (january 22, 2016 )
with some of the greatest opera stars and rising talents, you’ll see why washington concert opera has become one of the hottest tickets in town. pick between sapho and zelmira for an exciting night out! military and student discounts available - click below for more details !
washington concert opera exists to provide a secure home for rarely performed operatic masterpieces, to give established artists the opportunity to perform in debut roles as well as signature roles, and to introduce the exceptional talents of emerging artists .
washington concert opera is a professional concert opera company offering internationally acclaimed singers, professional orchestra and chorus in concert versions of rarely heard, full - length operatic works. founded in 1986, wco has presented more than 40 operas, featuring world - class singers who regularly appear on the most renowned opera house stages. wco strives to provide audiences with a unique musical experience and has repeatedly and consistently been acclaimed in the local, national, and international press as one of the finest in the field .
one event features a dinner cruise through death’s door strait aboard the island clipper and then a concert on washington island at the historic island dairy, now a concert facility, museum, and gallery. each venue exudes character and offers a distinct musical experience for the listener .
washington concert opera exists to provide a secure home for rarely performed operatic masterpieces, to give established artists the opportunity to perform in debut roles as well as signature roles, and to introduce the exceptional talents of emergin ...
conversations avec dieu, le concert étranger, i. jedlin (december 3, 2015 )
miricioiu cherishes memories of working with stephen crout, who conducted her earliest appearance with washington concert opera, but she is also abundantly positive about the broader contexts of wco’s repertory, planning, and presentation. ​‘i recall all my performances with washington concert opera with both pleasure and admiration for the company’s unique musical achievements and its dedicated, knowledgeable, and appreciative audiences and supporters, ’ miricioiu said. ‘i say unique because i only know of one or two similar small companies bringing such high - quality concert opera performances to the public. ’ she believes that the impact of wco’s initiatives extends far beyond the ranks of those who fill lisner auditorium on sunday evenings for the company’s performances. ‘i feel [ that this ] adds greatly to washington' s musical life, ’ she stated. ‘washington concert opera is a great example of what can be achieved by dedicated members and supporters, [ adding ] to the life of a great city such as washington, enriching both its cultural and artistic lives just as my own association with the company has also been enriched. ’
june 2015 on june 21st i will be performing mary magdalene at disney concert hall in la .
orchestra librarians and orchestra lovers alike have plenty to keep them busy this fall in the washington region .
february 2014 recording mary magdalene in marcos galvany' s
oh my son
in washington dc .
april 2015 happy to announce that i will be singing a concert with tenor gregory kunde accompanied by maestro tebar on april 1st. with opera naples .
with acclaimed performances throughout the united states to her credit, harris is especially cognizant of wco’s significance among america’s opera companies. ‘​washington concert opera [ provides ] great opportunities to hear works that aren’t so often done, in a venue that is every bit as exciting as a fully - staged production, ’ she opined. ‘the musical bar is set high, and maestro walker is an extremely artistic and sympathetic interpreter of these works! ’ ruminating on her appearances in wco performances and the rôle that the company​ plays in uplifting opera in america, harris summarized washington concert opera’s ventures with words that every opera lover longs to hear: ‘you won' t be disappointed! ’​
the main concert series featuring the full complement of 16 musicians runs from june 7 through july 17 .
for more than a decade, opera in the outfield ® has brought world - class, family - friendly entertainment to tens of thousands of washington, d. c. residents and is now an indispensable part of the city' s cultural calendar. a sponsorship will enable washington national opera to bring the joy of opera to the community in an accessible and uniquely american way .
washington concert opera believes in being “of” the community by engaging with our patrons in meaningful ways. in partnership with iona senior services, wco presents opera gems: an engaging and enlightening lecture series throughout the season focusing on wco productions and opera history. led by wco co - founder peter russell, opera gems typically take place three weeks prior to each performance at iona. for more information, call 202 - 364 - 5826 .
in cabell’s estimation, the unique circumstances of washington concert opera’s endeavors provide audiences with experiences that are equally unique. ‘the combination of great music and golden - age singing is guaranteed when you attend a performance at wco, ’ she intimated. washington concert opera’s three - decade performance annals confirm the veracity of her assessment, reminding listeners that top - quality singing overcomes many obstacles that stand between a little - known score and widespread appreciation. of course, the singing in any performance is even more assuredly ‘golden’ when cabell is among its cast .
october 2014 honored to sing a solo orchestra concert with the montevideo philharmonic orchestra on october 28th at teatro solis .
the board of directors of washington concert opera is pleased to announce the appointment of caryn kerstetter reeves as its new executive director, effective august 22, 2016. ms. reeves comes to wco from the glimmerglass festival where she has served as associate director of institutional advancement since october 2013 .
lisner auditorium at gwu 730 21st st nw (2, 426. 84 mi) washington, district of columbia 20052
when antony walker, an australian conductor, came to washington in 1999 to make his u. s. debut at wolf trap, he was affable, slightly pudgy and, in this country, unknown. now, having wrapped up his seventh season as artistic director of the washington concert opera with rossini' s
cenerentola
on sunday, he' s still affable, trimmer and considerably better known .
why is concert opera so often more fun than staged opera? because it’s freer. it’s easier to get great singers to come in for a showcase role and only a week of work than it is to engage them for the four to six weeks of rehearsal and performance time a staged opera generally requires. you can do unusual works, because you don’t have to sell tickets to multiple performances: most concert opera companies present one - night stands. sunday’s performance, in fact, was yet another reason to take a long, hard look at the opera business. it would be great to get this kind of pizazz at the washington national opera, or even at the met, on a more regular basis, but it doesn’t happen often .
a meet - and - greet informal reception (below) for the public and the musicians takes place after the concert .
founded by conductor stephen crout and arts administrator peter russell, washington concert opera’s journey began in 1986 with a performance of georges bizet’s les pêcheurs de perles that featured hei - kyung hong as leïla, the late jerry hadley as nadir, and gaétan laperrière as zurga. from that start, the organization’s mission has been admirably consistent: bring opera in concert form to metropolitan washington with the highest standards of musicality—standards that, in practical terms, cannot always be achieved or maintained in fully - staged productions. in subsequent years, wco performances have often filled voids in the repertories of america’s opera companies, giving neglected scores opportunities to reveal their glories to attentive audiences. rarely heard in north america, bellini’s il pirata, donizetti’s la favorite (in its original french), massenet’s esclarmonde, mercadante’s il giuramento, rossini’s bianca e falliero, strauss’s guntram, and verdi’s il corsaro have all benefited from washington concert opera’s attention, ambitiously furthering the objective of spotlighting works that languish in the shadows of better - known operas .
the guild also sponsors trips to outstanding opera performances outside the d. c. area. these trips include informative tours that provide insights into the local art and culture, behind - the - scenes experiences or meet - the - singers opportunities, and often visits to artists’ studios. guild members have traveled to santa fe opera for maestro walker’s conducting debut with the company, and to sarasota opera for verdi' s i lombardi and a 50th anniversary production of the crucible with composer robert ward in attendance. past trips have included visits to pittsburgh opera, opera theater of philadelphia, opera theatre of st. louis, san francisco opera, santa fe opera, glimmerglass opera, minnesota opera, and special combinations of operas at the metropolitan opera and new york city opera .
known
in washington has its own definition. here, walker is simply the bel canto specialist who leads the modest washington concert opera in two performances a season in the slightly dusty time capsule that is george washington university' s lisner auditorium. his energy and urge to communicate are palpable as he conducts, now leaping from the podium, now simply standing, turning his head from side to side to include the whole orchestra in his field of vision, his arms outstretched in an impressive wingspan ending in a baton, whipping the air around him into a froth of sound .
celebrate the 11th season of free opera broadcasts by joining washington national opera at nationals park for the barber of seville on saturday, september 29, 2018 at 7 p. m. gates open at 5 p. m. for pre - opera activities, including a costume shop, instrument meet and greet, games, prizes, and more !
continuing in his post at virginia opera, maestro turner will conduct performances of samson and d e lila h and a midsummer night ’ s dream during the 2017 - 2018 season. on top of his productions at virginia opera, he will also conduct händel’s messiah with the virginia symphony and theo popov’s the halloween tree, which he conducted last season as well, with american lyric theater at arizona state university. last season, mo. turner conducted three decembers with hawaii opera theatre, a domingo - cafritz young artist program holiday concert with washington national opera, carmen with central city opera, and der freischütz and a double bill of the seven deadly sins / pagliacci in his post as principal conductor at virginia opera. as the inaugural recipient of the julius rudel / kurt weill conducting fellowship in 2015, he collaborated with renowned conductor john demain on washington national opera’s production of kurt weill’s final stage composition lost in the stars .
seniors age 62 and up receive 20% savings on advance and day - of - concert ticket purchases in select areas of the hall .
washington concert opera will debut semiramide november 22, 2015 at 6pm at lisner auditorium of george washington university. this two - act opera features dazzling virtuostic arias, spectacular chorus and orchestral writing, and is rossini' s most monumental work. the libretto, penned by gaetano rossi, is based on voltaire' s tragedy, semiramis. it is a lush tale of murder, power and revenge, bringing ancient babylon to life. queen semiramide pays the price of her deceitful crimes with the heartbreak from an impossible love. it will be sung in italian with english supertitles .
the song recital is a more rarefied taste even than opera, and vocal arts dc has learned that the washington opera audience isn’t necessarily easily sold on it, even though vocal arts regularly presents some of the biggest stars in opera in some of the d. c. season’s best and most interesting performances, year after year. russell is well aware of the challenges but doesn’t see a job outside the opera field as a real departure .
i' ve just decided the next opera i want to see is in lyon! :) i can recommend both the opera house and lyon itself .
beyond amazing! this is a super opera and in its dc premiere. .
ralph vaughan williams' towering a sea symphony and the orchestra of the norwegian national opera and ballet capped off the oslo opera season in a singularly loud fashion .
virginia opera’s statewide expansion began by producing in richmond in 1977 with the encouragement of governor mills godwin and mrs. t. fleetwood (anna) garner. under their leadership, the richmond friends of opera was formed to present virginia opera productions annually in the capital city. by 1983, the richmond and central virginia board of virginia opera formed and a richmond office was opened. in november 1992, the company presented its first mainstage performance at the center for the arts at george mason university in fairfax. this development was hailed as “one of the major local operatic events of the year” by the washington post, and deemed a special day in music history for the washington d. c. area by opera news .
​founded by conductor stephen crout and arts administrator and advocate peter russell in 1986, washington concert opera sprang to life in that year with a performance of georges bizet’s les pêcheurs de perles that featured soprano hei - kyung hong, tenor jerry hadley, and baritone gaétan laperrière. from that auspicious start until the end of his tenure with wco in 2002, crout presided over performances that furthered the company​’s mission of providing audiences in the nation’s capital opportunities to hear works seldom if ever performed in north america. a specialization in bel canto repertory that developed early in wco’s history has been lovingly and thrillingly nurtured by current artistic director antony walker, leading to washington concert opera often surging to the forefront of opera in the united states by presenting promising young american singers early in their careers, international singers in their american débuts, and celebrated singers in rôle débuts or in parts they may not sing elsewhere .
july 13 - 14 antologia de la zarzuela concert at the national theater eduardo brito in santo domingo with the national symphony orchestra of dominican republic. more info .
“the board believes ms. reeves brings wide - ranging skills and experience to the executive director position which will greatly enhance wco’s marketing, development, artistic and business operations. we are excited about washington concert opera’s future with ms. reeves at the helm and look forward to her leadership in maintaining wco’s long - held reputation for artistic excellence, ” said melissa rhea, wco president and chair of the board .
fernando studied history and political science. he is passionate about opera and lied, a devoted fan of benjamin britten, and a lover of challenging stage productions. he wrote opera reviews for the spanish musical magazine ritmo and tweets about opera at @ operatweets .
here urltoken is the link. new collaboration with university of washington school of music produces very good production of handel' s
semele
. early music enthusiasts are really excited about this, and this sets up seattle opera' s production next season .
theatre music is all music composed to govern, enhance, or support a theatrical conception. music composed for theatrical purposes obeys different laws than does the music for concert performance or conventional opera. whereas in opera the music dictates the form in which the dramatic visual imagery is presented and governs its development, in other kinds of theatre the music is, at best, an equal partner among its principal elements. in concert, of course, the music is the sole factor that determines the experience .
​one of the foremost interpreters of bellini’s and donizetti’s heroines in recent memory, miricioiu is an artist whose career, like harris’s, has defied the demoralizing decline of true bel canto. bellini’s il pirata has been heard at new york’s metropolitan opera as few as nine times, all in the 2002 – 2003 season, and donizetti’s lucrezia borgia was performed at the met only once, as long ago as 1904, when the opera was received by the press with hostility despite the presence of enrico caruso as gennaro. wco performances featuring miricioiu made enormous strides in granting these beautiful scores the exposure they deserve, supplementing rare performances by american opera society and opera orchestra of new york. ‘i have very fond memories of appearing with washington concert opera for the first time in 1990, when i had the opportunity to début the title rôle of lucrezia borgia by donizetti, in a performance that i happily recall with pride in it being so wonderfully received by the audience, ’ miricioiu observed. from the perspectives of both those on the stage and those in the the audience, washington concert opera’s performances are a forum in which risks are helpfully encouraged, earnestness is applauded, and brilliance is extolled .
finally, washington performing arts will bring two notable orchestras with two brilliant pianists to washington concert halls. the mariinsky orchestra, under valery gergiev, will present an artist gergiev has championed since the start of his career, daniil trifonov, playing his own piano concerto (nov. 12). and antonio pappano and the santa cecilia orchestra, on an otherwise all - italian program, will offer prokofiev' s third piano concerto with a legendary kennedy center honoree, the memorable martha argerich (oct. 25) .
now he’s back home, and — in short — vocal arts dc is just about the only vocal organization in washington that russell hasn’t run. furthermore, his experience means he is well positioned to continue perman’s tradition of attracting some of the biggest names on the vocal scene — joyce didonato, gerald finley, stephanie blythe — to sing recitals in washington .
​birthdays can be troublesome affairs. one notes the passing of the years and detects in the mirror’s brutal honesty creasing and sagging in the most inconvenient of places. birthdays are also celebrations of having seen and done, suffered and survived, failed and carried on, and the wrinkles and rolls remind us of having laughed at our own foibles and shared feasts with beloved family and friends. for those in the metropolitan washington arts community, whether as practitioners or patrons, washington concert opera performances have for the past three decades been cherished friends. wco’s thirtieth birthday was an occasion truly worthy of celebration, and the concert that invigorated the extended wco family in lisner auditorium on sunday evening commemorated thirty seasons of great performances with an unforgettable evening of world - class singing. bring on the next thirty years !
both the technical effects and the singing impress in san francisco opera' s dark siegfried .
both the technical effects and the singing impress in san francisco opera' s dark siegfried .
on this wednesday night, feb. 24, the mostly amateur and very accomplished middleton community orchestra (below top) will present the winter concert of its fifth anniversary season .
​a highlight of washington concert opera’s past was the company’s 2001 performance of vincenzo bellini’s il pirata with romanian - born diva nelly miricioiu as imogene. until presented by wco and subsequently staged at the metropolitan opera with renée fleming in the 2002 – 2003 season, pirata ’s legacy in the united states consisted almost solely of a single, still - zealously - discussed 1959 concert performance by american opera society in which maria callas sang imogene. closing the first half of wco’s concert with pirata ’s extended mad scene for imogene, meade managed the aria’s cantilena with impressive legato, but it was her singing of the cabaletta ‘oh, sole! ti vela di tenebre oscure’ that rightfully earned her the audience’s vociferous bravos. conjuring callas with her pointed delivery of the words ‘palco funesto, ’ with the difference of meade’s vitriol having been aimed at the fateful scaffold of felice romani’s text rather than the manager’s box, her top c at the scene’s end may have rung the bells of the distant national cathedral .
and yet most of the music in this earlier
otello
is absolutely wonderful - - full of luscious melodies, astonishing invention and spectacular opportunities for virtuoso singers. washington concert opera' s performance of this rarely heard piece, which took place sunday night at lisner auditorium under the direction of antony walker, made for an exhilarating evening, and i wish it were happening all over again tonight, tomorrow and the next night, for i would be there .
the guild’s popular brunch series, insider insights, has featured singers and prominent individuals with ties to the opera world talking about their careers and organizations. among the speakers have been singers elizabeth futral, lawrence brownlee, elizabeth bishop, and francois loup, washington post music critic anne midgette, regional director for the metropolitan opera auditions eleanor forrer, and wco’s own artistic director antony walker .
simon is an operaphile based in auckland, new zealand. he wrote his dissertation on japanese popular music. with a background in piano and classical music retail, he spends his time attending as much opera or vocal concert as he can and blogs at irishenceaway. blogspot. com .
, written originally in 1968 as a concert work. by the end of 1971 it had been taken over for at least eight separate ballets in almost as many countries in western europe alone .
the midsummer’s music festival in door county kicks off this friday night off with a gala opening night. it includes champagne and chocolate, guest speakers, a concert and post - concert reception. guests will be whisked away to an english garden for the opening night premiere, featuring works of vaughan williams and charles villiers sanford, where taste buds will be dazzled with chocolate and champagne .
baritone nicholas pallesen is quickly establishing himself as one of the most promising talents of his generation and has been praised for his
authority and tonal beauty ,
handsome, stylish singing ,
depth of feeling ,
and his
formidable portrayal in bearing and voice .
this season, he returns to new orleans opera as falke in die fledermaus, the metropolitan opera in various roles, english national opera, and makes debuts with city of birmingham symphony orchestra and oper köln. pallesen is the winner of the giulio gari, sullivan foundation, and opera index competitions, and is an alumnus of the juilliard opera center and apprentice programs at santa fe opera and opera theatre of saint louis .
the world is gloriously redeemed in the gripping final installment of san francisco opera' s ring cycle .
the inner voice of an opera singer, or what the baritone is really thinking. ;) urltoken
prior to his seven years in ballet, allen served as general manager for the atlanta opera, following his six years at virginia opera. his work with virginia opera in the 90s saw the organization through both its 20th and 25th gala seasons, and through six years of growth in both audience size and contributed revenue. now looking ahead to its 44th season in 2018 - 19, allen will plan with virginia opera’s board of directors the direction of the next phase of growth and development for virginia opera .
anne midgette came to the washington post in 2008, when she consolidated her various cultural interests under the single title of chief classical music critic. she can be found online as the classical beat. follow
did you know that it’s still do more 24 day? ! you have until noon today to contribute toward our campaign. all funds raised will directly support the second annual opera outside concert in meridian hill / malcolm x park, to be held in october 2018! find out more @ urltoken .
“following her resounding success in a streetcar named desire at lyric opera of chicago, beverly sills artist susanna phillips returns to santa fe opera as the countess in the marriage of figaro (june 29–aug 23) .
after 1935, in the wake of her european success, anderson gained broader acceptance in the united states. the fact that she had not completely broken the race barrier, however, was dramatically proved in 1939, when the daughters of the american revolution refused to let her sing in its constitution hall in washington, d. c. protesting the snub was, among others, first lady eleanor roosevelt, who resigned from the organization and convinced secretary of the interior harold ickes to allow anderson to give an easter sunday concert on the steps of washington' s lincoln memorial instead. the concert was a huge success, with both live and radio audiences, and anderson suddenly found herself at the center of the american music scene. when anderson made her opera debut with new york' s metropolitan opera in 1955, it was the first time an african american had performed with the company. in 1965, after twenty - five years of touring in the united states and abroad, anderson gave her final performance at carnegie hall .
the guild was founded to support and promote awareness of wco and is dedicated to its growth and prosperity, so there is a real camaraderie among the membership. since the guild is entirely separate from washington concert opera, donations to wco do not apply toward guild membership. annual dues are $ 30 single, $ 40 double (two persons living in the same household). if you have questions about the guild, please email president margaret c. jones at guildforwco @ urltoken or mcjones @ earthlink. net .
on sunday night, with the company safely back in its original quarters, george washington university' s dowdy but simpatico lisner auditorium, it seemed a good time to give thanks for wco' s deliverance. indeed, it has now joined the vocal arts society and the washington performing arts society - sponsored patrick and evelyn swarthout hayes piano series as one of the few groups in town whose offerings should never be missed .
​prefacing the concert’s dramatic conclusion with orsini’s and gennaro’s duet from act two of lucrezia borgia, ‘onde a lei ti mostri grato ella ha finto di salvarti, ’ genaux and angelini again partnered one another with unforced charisma, orsini’s goading as convincing as gennaro’s misgivings. one of the marvels of washington concert opera performances is the miracles of ensemble singing that are often achieved with limited rehearsal schedules, and this was especially true of genaux’s and angelini’s singing in the lucrezia borgia duet. their dramatic timing and responsiveness to one another were extraordinary, better than in many staged performances, and they blended their very different timbres with consummate rapport. theirs was a performance to convert any non - believers who think that opera—and especially a nearly - two - centuries - old duet for two male characters with no post - freudian romantic subtext—cannot be sexy .
stephen medcalf directs a coherent staging of mozart’s opera seria in which idomeneo’s inner demons are to be battled .
a terrific cast takes on the latest revival of kasper holten’s video - infused staging of mozart’s opera buffa .
a terrific cast takes on the latest revival of kasper holten’s video - infused staging of mozart’s opera buffa .
moses und aron produced by welsh national opera and being performed at royal opera house on 25th and 26th july. i' m not going but the cast looks interesting and i wonder how naked is naked. urltoken
clara e. sipprell (1885 - 1975) photograph, gelatin silver print, circa 1947, npg. 82. 185 national portrait gallery, smithsonian institution, washington, d. c. bequest of phyllis fenner
gramophone awards shortlist urltoken i think there are people here (clayton, natalie ?) who have the serse. what' s anna stéphany like? i' m seeing her in a concert in october .
caryn reeves said :
i am greatly looking forward to my time with washington concert opera, an organization i’ve long admired for its compelling musical programming and performances of the highest caliber. it is especially exciting to join the company for its 30th anniversary season, and i plan to continue and expand upon the excellent work that has already been done over these past three decades. it will be wonderful to celebrate with all of wco' s friends and supporters on september 18, which i know will be a memorable evening !
betsy graves reyneau (1888 - 1964) oil on canvas, 1955, t / npg. 67. 76. 03 national portrait gallery, smithsonian institution, washington, d. c. gift of the harmon foundation
known ,
in the opera world, is relative. to a considerable number of insiders, and a growing number of the public, walker, 42, is someone to watch .
he is not a household name now ,
mark weinstein, then the head of the pittsburgh opera, told the pittsburgh post - gazette in 2006, when walker was named that company' s music director .
but within the industry, his name is hot .
( weinstein became executive director of the washington national opera in 2008. )
​a favorite of washington audiences thanks in no small part to acclaimed wco portrayals of rossini’s falliero in bianca e falliero, angelina in la cenerentola, and arsace in semiramide, the alaska native genaux launched the concert’s vocal selections by scoring a home run for the wco team, knocking ‘il segreto per esser felici, ’ maffio orsini’s brindisi from act two of gaetano donizetti’s lucrezia borgia, out of the park. even in the concert setting, genaux was the temperamental young reveler to the life, recreating on the lisner auditorium stage the dagger’s - point characterization with which she enlivened minnesota opera’s 2004 production of lucrezia borgia. her italian diction scintillated, and her performance of the brindisi, distinguished by fiorature of pinpoint accuracy, was a rousing summons to wco’s party .
is the last track on this album. each concert of bartoli' s european tour will be accompanied by a traveling exhibit of malibran artifacts, mostly from bartoli' s collection, displayed in a bus. the
“in her first summer festival engagement, she celebrates the britten centennial at the aspen music festival, where she will make her role debut as ellen orford in a concert performance of peter grimes (july 27) .
other recent guest conducting engagements include: rom éo et juliette at lyric opera baltimore, sweeney todd at hawaii opera theatre and eugene opera; le nozze di figaro, dead man walking, carmen, la boh è me, man of la mancha and oklahoma! with central city opera; don giovanni, le nozze di figaro, carmen, brigadoon, my fair lady, camelot, and britten’s biblically inspired noye ’s fludde during his tenure as resident conductor at ash lawn opera; and der fliegende holländer, la boh è me, h. m. s. pinafore, carmen, ariadne auf naxos, the mikado, carousel, and camelot for virginia opera .
with her signature role’s coloratura fireworks and dramatic nuance, jessica pratt’s sydney opera house debut is one to remember .
then come her appearances in three different operas at the famed metropolitan opera (below) in new york city .
opera being ruined by' useless quest for novelty', says former royal opera house boss urltoken i really like kasper holten and want him to succeed but i have to agree with some of john tooley' s comments .
your tax - deductible gift will help ensure we are able to continue mars, incorporated opera in the outfield .
prior to his appointment as one of the youngest artistic leaders in virginia opera’s history, turner proved he has a vision for the future of the industry as a member of the next generation of leaders while holding several administrative and music staff appointments at houses across the country including seattle opera, florida grand opera, central city opera, portland opera, tulsa opera, syracuse opera, and ash lawn opera. in these positions, turner worked side - by - side with world - renowned maestri including asher fisch, steuart bedford, john demain, gary thor wedow, and broadway veteran rob fisher. turner holds a bachelor of music degree from morehead state university, and a master of music degree from the catholic university of america. he furthered his training with internationally acclaimed conductors and pedagogues neeme järvi, paavo järvi, marin alsop, jorma panula, gustav meier, kenneth kiesler, and kate tamarkin .
john hammond and the 1938 / 1939
spirituals to swing
concert recordings
by wheeler, geoffrey - iajrc journal, vol. 48, issue 3, september 1, 2015 | online research library: questia
the work has since been presented by lyric opera of chicago, in boston and at tanglewood by emmanuel music, and, in a reduced orchestra chamber version, by opera parallele in san francisco and at the aspen music festival .
well that' s discouraging. i keep seeing a banner at the top of these pages, advertising one of lyric opera of chicago' s current productions. apparently, verdi wrote an opera called il trovare. who knew ?
sign up to get an email reminder about opera in the outfield' s free presentation of the barber of seville .
march in washington is marked by many wonderful events: the end of winter and emergence of spring, the full bloom of cherry blossoms, and several wco education and outreach programs that celebrate music in our schools month (miosm) .
like cabell, harris rejoices in the camaraderie that results from the frenetic pace at which washington concert opera performances are forged. ‘because we don’t have staging, the rehearsal period with wco is shorter than [ with ] a “normal” opera [ company ], ’ she commented. ‘that could be perceived as a negative, but i find it exhilarating! maestro walker is very character - oriented and helps everyone find a “musical characterization” during the rehearsal process. ’ to walker’s guiding force harris attributes the creative spark that ignites wco performances. ‘again, because we’re not staged, this is very important, ’ she added. ‘it’s a happy environment, and everyone seems to work together under his direction. ’
what singers do to prepare for operatic roles is astounding - - when they really prepare, that is. to wit, read how anne - carolyn bird is working on learning susanna for her upcoming debut. [ the concert ]
american conductor adam turner is quickly gaining momentum as a conductor to watch on international opera stages. currently in his fourth season as principal conductor and artistic advisor at virginia opera, maestro turner garners critical acclaim for the breadth of his repertoire, artistic vision, and polished technique. of his recent performance of der freischütz with virginia opera, opera news hailed: “conductor adam turner…ensured crackling rhythms as much as lyrical spaciousness, resulting in a performance that felt vital and spontaneous throughout. ”
wno continues its partnership with the washington nationals with an opera in the outfield ® presentation of the barber of seville on saturday, september 29, 2018 at nationals park. gates will open at 5 p. m. for pre - opera activities for the entire family, then the barber of seville will be displayed on the high - definition natshd scoreboard at 7 p. m. free seating will be available on the outfield grass (weather permitting) and in the stands .
this summer, he' s making his debut at the santa fe opera, america' s most important opera festival, with the ever - beloved
madama butterfly .
he spoke recently by phone from toronto, where he was leading donizetti' s
maria stuarda
for his first performances with the canadian opera company. this is all good stuff .
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it' s hard to find anything not to admire in a thrillingly strong production of britten' s haunting chamber opera .
all performances will once again take place at lisner auditorium on the campus of george washington university. season subscriptions will be on sale starting in mid - may 2017 and can be purchased by calling (202) 364 - 5826 or online here .
( and, yes, i noticed who is number one on the huffington post' s list of today' s hottest opera singers! : love8 :) yep, congrats to your man. now, they list in the hottest opera singers slide show, katherine jenkins. hot she is, i won' t dispute that, but opera singer she is not .
wco sees a future when it will be widely recognized as an opera producer of the highest quality, is appreciated throughout the nation for its unique offering, and makes a significant contribution to the field of opera as a catalyst for new and expanded audiences .
meet the person who benefits the most from la alagna' s excesses: her replacement, elaine alvarez. [ opera chic ]
the company produces four mainstage productions including performances at the edythe c. and stanley l. harrison opera house in norfolk, carpenter theatre at dominion arts center in richmond, and at george mason university’s center for the arts in fairfax. virginia opera is the only opera company to perform a full season of opera in multiple mainstage venues and to reach more than 150, 000 students and community members each year through its innovative education and community outreach program. building upon past accomplishments, the 2018 - 2019 season features an exciting level of artistry and diverse programming. while remaining committed to securing the highest caliber of vocal talent, the opera will invite brilliant conductors and directors, assisted by the next generation of gifted artists, to challenge audiences and create new opera experiences .
september 15th opera insight - anna bolena at the kennedy center millenium stage, maria is performing the role of anna. more info
during regular appearances with virginia symphony orchestra and the richmond symphony, mr. turner conducted young people’s concerts and additional outreach activities. his leadership of virginia opera’s annual “opera in the park” series, featuring both of the aforementioned orchestras in their respective communities, reaches nearly 10, 000 attendees across the commonwealth of virginia with a program of opera and popular hits, ensuring the next generation of prospective opera lovers, and bridging the gap between popular and classical music genres. he appeared in concert with singer - songwriter ben folds, conducting “ the orchestra experience ” during a recent tour stop in virginia beach. additionally, maestro turner conducted at the david oistrakh festival in estonia, featuring appearances with the st. petersburg festival orchestra, pärnu city orchestra, and the kaiserslautern symphony orchestra .
i got mine in. we should propose the creation of a new category' best opera fan' and nominate you so that you win and get invited to the ceremony. : kiss. 1: haha! i think hoffmann would win best opera fan, not me. i think' best opera site' would be a good category because ol would easily win then we could all go!
washington concert opera is a professional opera company located in washington dc in the united states which presents operas in a concert format with full orchestra and chorus . wco ’s distinctive repertoire consists of operas which either have not been presented recently in the washington area , or are infrequently performed anywhere , or which represent opportunities to showcase artists . typically , wco presents two operas each season , one each in the autumn and spring , in lisner auditorium located on the campus of the george washington university . during the early 2000s , the company presented operas in the kennedy center 's concert hall , but with rather disastrous economic consequences : we came perilously close to losing the washington concert opera two summers ago . the troupe , which has presented concert performances of rare and unusual operas here since 1986 , had made an ambitious but prohibitively expensive move to the kennedy center concert hall and suddenly realized it was going broke , with an annual deficit that had climbed to $ 200,000 . as of the 2005 season , wco returned to the lisner auditorium . 
washington concert opera is a professional opera company located in washington dc in the united states which presents operas in a concert format with full orchestra and chorus. wco ’s distinctive repertoire consists of operas which either have not been presented recently in the washington area, or are infrequently performed anywhere, or which represent opportunities to showcase artists. typically, wco presents two operas each season, one each in the autumn and spring, in lisner auditorium located on the campus of the george washington university. during the early 2000s, the company presented operas in the kennedy center's concert hall, but with rather disastrous economic consequences: we came perilously close to losing the washington concert opera two summers ago. the troupe, which has presented concert performances of rare and unusual operas here since 1986, had made an ambitious but prohibitively expensive move to the kennedy center concert hall and suddenly realized it was going broke, with an annual deficit that had climbed to $ 200,000. as of the 2005 season, wco returned to the lisner auditorium.
washington concert opera is a professional opera company located in washington dc in the united states which presents operas in a concert format with full orchestra and chorus. wco ’s distinctive repertoire consists of operas which either have not been presented recently in the washington area, or are infrequently performed anywhere, or which represent opportunities to showcase artists. typically, wco presents two operas each season, one each in the autumn and spring, in lisner auditorium located on the campus of the george washington university. during the early 2000s, the company presented operas in the kennedy center's concert hall, but with rather disastrous economic consequences: we came perilously close to losing the washington concert opera two summers ago. the troupe, which has presented concert performances of rare and unusual operas here since 1986, had made an ambitious but prohibitively expensive move to the kennedy center concert hall and suddenly realized it was going broke, with an annual deficit that had climbed to $ 200,000. as of the 2005 season, wco returned to the lisner auditorium.