Opera

Ian Sabourin | Atelier Lyrique 2022 | Prix Étoiles Stingray

Massimo — Mon, 31 Oct 2022 15:37:47 +0000

Ian Sabourin | Atelier Lyrique 2022 | Prix Étoiles Stingray Massimo Mon, 10/31/2022

L’Opéra de Montréal tenait le 26 octobre dernier son sixième Gala Talent, soulignant les auditions nationales de l’Atelier lyrique à la Maison Symphonique, pour sélectionner ses nouveaux artistes en résidence.

Ce sont 11 chanteurs finalistes, sélectionnés à travers le pays, qui ont pris part à cette aventure! Leur espoir est de décrocher un des stages très convoités de l’Atelier lyrique. Grâce à cette résidence professionnelle et artistique de deux ans, ils seront en mesure de lancer leur carrière dans les meilleures conditions.

Sophie Naubert, Soprano
River Guard, Ténor
Kathryn Rose Johnston, Soprano
Chelsea Kolic, Soprano
Ilanna Starr, Mezzo-Soprano
Christina Thanisch-Smith, Soprano
Jamal Al Titi, Baryton
Katelyn Bird, Soprano
Ian Sabourin, Contre-Ténor
Elena Howard-Scott, Soprano
Tessa Fackelmann, Mezzo-Soprano

À la suite du vote du public, Stingray a remis le Prix Étoiles Stingray, assorti d’une bourse de 3 000$, au contre-ténor Ian Sabourin. Il a choisi d’interpréter « Frondi Tenere… Ombra mai fu » extrait de l’opéra Serse de Händel.

Ian Sabourin est titulaire d’une maîtrise en musique (interprétation vocale) de l’Université McGill. Il a récemment été soliste pour la Messe en si mineur de Bach avec la Caelis Academy Ensemble et pour la Cantate BWV 106 de Bach au Festival international de musique baroque de Lamèque puis il a chanté le rôle d’Orlando dans l’opéra Orlando de Händel avec Opéra McGill.

À propos de l’Atelier lyrique

Résidence d’artistes de premier plan pour chanteurs d’opéra et pianistes-chefs de chant canadiens, l’Atelier lyrique est un tremplin de perfectionnement professionnel au cœur de l’Opéra de Montréal. L’Atelier se distingue par ses projets uniques, notamment, une clinique avec orchestre et divers projets de créations mondiales.

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Marc-Antoine Brûlé | Atelier Lyrique 2020 | Prix Étoiles Stingray

Frédérique — Wed, 09 Dec 2020 14:19:10 +0000

Marc-Antoine Brûlé | Atelier Lyrique 2020 | Prix Étoiles Stingray Frédérique Wed, 12/09/2020

Chaque année, l’Opéra de Montréal, fidèle partenaire de Stingray, accueille de nouveaux talents dans le cadre des Auditions nationales pour l’Atelier lyrique.

Pour une quatrième année, l’Opéra de Montréal a organisé un majestueux Gala TALENT pour sélectionner ses nouveaux artistes en résidence. Cette année, le gala pour la finale des auditions nationales a eu lieu entièrement en ligne.

Ce sont 6 chanteurs finalistes, sélectionnés à travers le pays, qui ont pris part à cette aventure!

Martina Myskohlid, Mezzo-Soprano
Andrew Derynck, Ténor
Matthew Li, Basse
Marc-Antoine Brûlé, Ténor
Nicolas Higgs, Baryton
Mishael Eusebio, Ténor

C’est le ténor québécois Marc-André Brûlé qui a remporté les honneurs, accompagnés du Prix Étoiles Stingray d’une valeur de 3 000 $. Il a choisi d’interpréter « Kuda, kuda » extrait de l’opéra Eugène Onéguine de Tchaikovsky.

À propos de Marc-Antoine Brûlé

Titulaire d’un baccalauréat en chant de l’Université de Montréal, Marc-Antoine Brûlé complète cette année une maîtrise au Conservatoire de musique de Montréal, au cours de laquelle il a interprété les rôles d’Eisenstein dans Die Fledermaus de Johann Strauss II et du Prince Charmant dans l’opéra Cendrillon de Jules Massenet. À l’Université de Montréal, il a interprété Pluton dans l’opéra bouffe Orphée aux enfers d’Offenbach. En août 2019, dans le cadre du Rendez-vous musical de Laterrière, Marc-Antoine a chanté la Sérénade pour ténor, cor et cordes de Benjamin Britten.

À propos de l’Atelier lyrique

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Sarah Dufresne | Atelier Lyrique 2019 | Prix Étoiles Stingray

Ariane — Thu, 14 Nov 2019 20:22:18 +0000

Sarah Dufresne | Atelier Lyrique 2019 | Prix Étoiles Stingray Ariane Thu, 11/14/2019

Chaque année, l’Opéra de Montréal, fidèle partenaire de Stingray, accueille de nouveaux talents dans le cadre des Auditions nationales pour l’Atelier lyrique.

Pour une troisième année, l’Opéra de Montréal a organisé le majestueux Gala TALENT pour sélectionner ses nouveaux artistes en résidence. Cette année, le gala pour les Auditions nationales a eu lieu à la magnifique Salle Wilfrid-Pelletier le 13 novembre. Le gala a offert aux invités un encan silencieux, les auditions des finalistes ainsi qu’un délectable souper sur scène, agrémenté d’une prestation des artistes actuels de l’Atelier lyrique. Tout pour l’amour de l’opéra !

Les artistes sont sélectionnés par le jury composé de Michel Beaulac, Chantal Lambert, Marie-Ève Scarfone, Frédéric Antoun, John Norris et Catherine Levac. Cette année, 10 chanteurs finalistes, sélectionnés parmi plus de 130 artistes à travers le pays, prenaient part à cette aventure !

Andrew Adridge, Baryton
Jillian Bonner, Mezzo-Soprano
Sarah Dufresne, Soprano
Sydney Frodsham, Mezzo-Soprano
River Guard, Ténor
Charlotte Siegel, Soprano
Marcel Sokalski, Baryton
Jonah Spungin, Baryton
Lucie St-Martin, Soprano
Caroline Stanczyk, Soprano

Dix fabuleuses voix ont époustouflé le public par leur talent et leur puissance : imaginez projeter sa voix de baryton, soprano, mezzo-soprano, et ténor dans une salle de près de 3 000 sièges sans amplification : impressionnant, rendant sans doute le vote difficile face à autant d’émotion et de qualité.

Plus de 400 personnes ont voté sur la plateforme de vote pour leur artiste préféré. C’est la soprano ontarienne Sarah Dufresne qui a remporté les honneurs (et près de 35% des votes), accompagnés du Prix Étoiles Stingray d’une valeur de 3 000 $. Elle a choisi d’interpréter « All’ombra amena del giglio d’or » de Rossini (Il viaggio a Reims) se faisant remarquer par sa technique et son aisance sur scène.

Souper | © Brent Calis

À propos de Sarah Dufresne

Sarah Dufresne a récemment obtenu une maîtrise en musique de l’Université McGill. Elle a participé au programme d’artiste en résidence du Centre des arts de Banff et est récipiendaire d’une bourse de la Fondation Jacqueline Desmarais pour les jeunes chanteurs d’opéra canadiens. Dernièrement, elle a interprété les rôles de la Reine de la nuit dans La flûte enchantée et Rebecca Marshall dans No One’s Safe de Nicole Lisée.

Remise du Prix Étoiles Stingray | © Brent Calis
De gauche à droite: Philippe Papineau (Stingray), Sarah Dufresne et Chantal Lambert (Directrice, Atelier lyrique)

À propos de l’Atelier lyrique

Résidence d’artistes pour chanteurs d’opéra et pianistes-chefs de chant canadiens, l’Atelier est un tremplin de perfectionnement professionnel. Unique en son genre au Québec en termes de durée, de rémunération et de ressources, il offre formation et expérience scénique aux artistes lyriques canadiens au plus fort potentiel de carrière. Seul programme au Canada à former ses recrues dans les deux langues officielles, il facilite un réseautage et un rayonnement dans les pays francophones et partout dans le monde.

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Vanessa Croome | Atelier Lyrique 2018 | Prix Étoiles Stingray

Ariane — Mon, 19 Nov 2018 18:54:24 +0000

Vanessa Croome | Atelier Lyrique 2018 | Prix Étoiles Stingray Ariane Mon, 11/19/2018

Chaque année l’Opéra de Montréal, fidèle partenaire de Stingray Musique, accueille de nouveau talents dans le cadre de l’Atelier Lyrique.

Pour une deuxième année, l’Atelier Lyrique a organisé le majestueux Gala TALENT pour accueillir ces nouveaux artistes. Cette année, le gala pour les Auditions Nationales a eu lieu à la magnifique Salle Wilfrid Pelletier le 14 novembre. Le gala a offert aux invités un encan silencieux, les auditions des finalistes ainsi qu’un délectable souper agrémenté d’une performance, culminant avec l’encan crié. Tout pour l’amour de l’opéra!

Les artistes sont sélectionnés par le jury composé de Michel Beaulac, Chantal Lambert, Marie-Ève Scarfone, John Norris et Richard Margison. En 2018-2019, 9 chanteurs finalistes, sélectionnés parmi plus de 130 artistes, prennent part à cette aventure!

Rebecca Cuddy, Mezzo-soprano
Jean-Philippe Mc Clish, Baryton-basse
Kirsten LeBlanc, Soprano
Elias Theocharidis, Ténor
Chelsea van Pelt, Soprano
Georgia Burashko, Mezzo-soprano
Matthew Dalen, Ténor
Vanessa Croome, Soprano
Zachary Rioux, Ténor

Plus de 400 personnes ont voté sur la plateforme de vote de Stingray Musique pour leur artiste préféré. C’est la soprano Vanessa Croome qui a remporté les honneurs (et près de 42% des votes), accompagnés du Prix Étoiles Stingray d’une valeur de 3 000 $. Elle a choisi d’interpréter « En proie à la tristesse » de Rossini (Le Compte Ory) se faisant remarquer par sa technique et son aise sur scène.

À propos de Vanessa Croome

Vanessa Croome aime interpréter un répertoire très varié. Récemment, elle a chanté Miss Wordsworth dans Albert Herring, Pamina dans La Flûte enchantée et Cunegonde dans Candide avec Opera McGill. Passionnée par l’opéra d’aujourd’hui, Vanessa a récemment a été la doublure pour le rôle de Josephine Young dans la création mondiale d’An American Soldier à l’Opera Theatre of Saint Louis.

Remise du Prix Étoiles Stingray | © Brent Calis Photography
De gauche à droite: Ariane Charbonneau (Stingray Musique), Vanessa Croome et Chantal Lambert (Directrice, Opéra de Montréal)

À propos de l’Atelier Lyrique

Cocktail tout en musique! | © Brent Calis Photography

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7 Opera Characters You Find on Valentine's Day | Opera With Pearls

Opera with Pearls — Thu, 08 Feb 2018 15:58:12 +0000

7 Opera Characters You Find on Valentine's Day | Opera With Pearls Opera with Pearls Thu, 02/08/2018

I'M PRETTY SURE OPERA INVENTED VALENTINE'S DAY

As I was scrolling through my Facebook newsfeed with high hopes of finding a new cat video, I ended on a 2014 Buzzfeed article titled The 13 Types Of People You See On Valentine's Day. I went through the list, trying to figure out which one was me, hoping for a revelation, much like when I read the horoscope (don't we all?)
When I was done reading, I wondered if there was something like this with more opera. So instead of looking for one, I figured I'd just make a list!! Plus, this article completes as a serenading playlist. You’re welcome. So which Valentine are you?

*** Warning: Spoilers ahead. ***

7 OPERA CHARACTERS YOU FIND ON VALENTINE'S DAY

1. THE MATCH-MAKER

This opera is for that person who is either in denial of their lack of relationship, or in a long-term one, and finds the need to spice up their life by playing match-maker. But just like Figaro in The Barber of Seville, they make true love happen, so we love them for who they are.
Now if you have a friend matchmaker, go ahead and trust what they're doing. They have more than one trick up their sleeve and are quick on their feet! If you can end up with dreamy Almaviva instead of your tutor Bartolo, why not give it a try? You could finally have your Say Anything… John Cusack moment.
Without this person, there would be no great love story. So if you are like Figaro, you can tap yourself on the shoulder and congratulate your efforts. Well done!

2. THE INDEPENDENT

It’s normal to fear that you might lose yourself or lose sight of your personal goals if you get into a relationship. In the case of Turandot, she fears ''the domination of men'' which is understandable when you are the heir to the throne. Its’ all very Queen Elizabeth I. To protect herself from suitors, she asks them three riddles and if they fail, well, they are executed.
However, the one man who eventually succeeds happily places his fate and life in her hands. That's just how much he loves her. (Cue the awws).
A man like this would thaw any frozen heart. Just remember that if you don't jump on the occasion, there is a Liu pining for the same person...

3. THE TRAGIC LOVER

Not all stories have the happy ending you'd hope for. But that doesn't mean they aren't worth living. No regrets. Although there was a disapproving father, a sense of obligation, and a terminal illness, our lovers in La Traviata had a truly passionate – with ups and downs – relationship. For a few months. But there are memories you'll cherish forever. And nothing could ever change that. So go for it, you might not have a second chance.

4. THE ACCIDENTAL SWINGER

Your entourage might try to convince you that your betrothed could be unfaithful, and go to extreme lengths to prove it.
In Cosi Fan Tutte, although the two sisters have professed their unwavering love, they are easily duped when their fiancés disguise themselves and switch sisters to win a bet. They must have had really good costumes, just saying. The sisters eventually succumb, unaware of the ruse. Fortunately, all is forgotten in the end. Word of advice? Not everyone forgives and forgets as easily as the gentlemen in this opera do!

5. THE EVERYONE-LOVES-ME-WHY-DON'T-YOU TYPE

Now this might seem like an odd choice at first. But this list isn't about the most romantic or lovey-dovey of operas. There is something for every type of feelings. If this is you, you might want to figure out why you absolutely need attention. It’s impossible to please everyone, and you wouldn't want to learn it the hard way like Salome. She does get the guy at the end - well, his head anyway - but that's a long shot from a happy ending.
So if you're day is heading (pun not intended) for this, please review your options. ASAP.

6. THE GIPSY SEDUCTRESS

The Seductress is untameable, doesn't belong to anyone, and is easily bored. Nothing is guaranteed with Carmen. Heads up: If she outright tells you that if you don't love her, she loves you, but if you do love her, well beware, perhaps you should take that into consideration before leaving everything behind for her. Because it could lead you to dark and desperate measures...
So love her if you must, but set her free when the time comes. She's an oiseau rebelle afterall.

7. THE KNIGHT IN SHINING ARMOUR

This is pretty much every little girl's dream come true. When your honour and life is at risk, you hope to see a Lohengrin arrive, shining armour, on his white swan (the swan is the new steed.) He'll save you, marry you, but on one condition: that you do not ask his name. You'd think that this is fairly simple to respect. But opera isn't simple. So unless you want to instantly fall dead (that's just how it goes), enjoy your life without knowing your lover's name. Call him Bob or something, and avoid all the drama.

Happy Valentine’s Day!!

This article was originally published on operawithpearls.com. Reproduced with permission from the author.

Brava Favourites | Der Ring des Nibelungen

Hidde — Thu, 08 Feb 2018 14:02:34 +0000

Brava Favourites | Der Ring des Nibelungen Hidde Thu, 02/08/2018

Der Ring des Nibelungen by Stuttgart State Opera

From February 22 to 25, Stingray Brava will broadcast Richard Wagner’s unforgettable grand operas Der Ring des Nibelungen. Conducted by Lothar Zagrosek, all four operas were recorded at the Stuttgart Opera in 2002 and 2003.

Last September, Stingray Brava received lots of positive feedback regarding the broadcast of Die Ring des Nibelungen. That was reason enough to reprogram the cycle in February!

Richard Wagner

Richard Wagner is perhaps the greatest 19th-century innovator within the opera genre. The composer was striving to create a so-called “Gesamtkunstwerk”, in which theatre, music, and words would be united into a new art form.

Der Ring des Nibelungen was composed between 1853 and 1874 and consists of four operas: Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung. The works are based loosely on characters from the epic The Song of the Nibelungs and the Norse sagas.

Remarkably and unusually, Wagner provided the libretto for all his operas! In The Ring Cycle, he also perfected the use of the leitmotif (a recurrent theme throughout a musical or literary composition, associated with a person, idea, or situation), through unconventional harmonies and extensive orchestrations.

In the 1990s, Klaus Zehelein, director of the Stuttgart State Opera, had the revolutionary idea to divide The Ring Cycle in four separate parts, where each part would be directed by a different director and performed by a different cast. Zehelein had one big aesthetic advantage in mind; every part would get the full attention that a Wagner opera deserves.

Four operas, four directors, four unique styles

The fact that this 15-hour rendition was performed by four different casts was controversial at the time. However, the orchestra, conductor, storyline, and musical structures are the common denominator between each opera, which are artistically interwoven by the composer.

Interesting fact: the Gods in Das Rheingold look like business gangsters from the 1920s and Siegfried is comically set in the 1960s. The decors are provided with post-industrial characteristics, like a prison camp with wired fences. A big asset in the rendition by the Stuttgart State Opera is the rich movements and mise-en-scène on stage, which prevents the static singing of an opera aria.

3 Brünnhilde, 3 Wotan, and 2 Siegfried!

To keep things fresh, characters in the operas are played by different singers. What a perfect opportunity to compare singers! Who was your favourite Wotan, Siegfried or Brünnhilde?

In 1876, Der Ring des Nibelungen premiered at the Festspielhaus in Bayreuth, Germany. Today, it is performed annually at the Bayreuth Festival.

If you’re a lover of classical music, you can now enjoy this magnificent work, from February 22 to 25 on Stingray Brava!

3 Tips to Attract New Operagoers | Opera With Pearls

Opera with Pearls — Sun, 28 Jan 2018 16:39:00 +0000

3 Tips to Attract New Operagoers | Opera With Pearls Opera with Pearls Sun, 01/28/2018

Opera is often referred to as outdated. Yet every year, young singers graduate from their studies in search of an opportunity to perform. So why are young singers not hard to come by, when developing a younger audience is a struggle of opera companies?

Some obvious points come to mind. To begin with, the battle between retaining faithful patrons who have subscribed year in and year out for over 30 years and attracting a younger audience boils down to their diverging tastes and interests.

Furthermore, the entertainment offering is so diverse and complete, we all must choose how we want to spend our time. There’s always something to do, whether it’s an evening at the new club in town or binge-watching Stranger Things on Netflix. Plus, throw some FOMO in there, and it’s a real mess.

AND, opera is expensive to put on! Between the cast, the orchestra musicians, the sets, the costumes, the administrative staff, the marketing, it is difficult for most opera companies to be sustainable without government funding or corporate and individual donations. All that together, and you can kind of understand why La Bohème and Così fan tutte return to the stage so often. They’re box office operas; an opera company can be certain to fill the seats.

Hence, staging modern operas – or even commissioning a new opera – represents a substantial risk. What if people don’t like it? For some even, it would essentially be like picking a restaurant at random and hoping for the best. If no one’s seen the opera and there are no reviews about it, how can companies get people inside the concert hall?

Back to our initial question then. How can we explain that there are so many young opera singers out there, yet so few young patrons? And the answer is quite simple.

Attracting new audiences isn’t lowering the ticket price or offering free beverages during the intermission. The reason opera is perceived as outdated is because it is unknown. Or the things we thought we knew about opera, usually turn out to be wrong. It is then logical to avoid the intimidating – and perhaps, embarrassing – the experience of going to the opera and opt for that Netflix binging option.

So how can opera companies break out of this stereotypical cage in hopes of developing a younger and diverse audience? Just last week, I attended a 5 à 7 hosted by the Opéra de Montréal in the brand-new offices of Stingray Music in Montreal, Québec. The room was filled with young professionals! Drawing inspiration from this evening, I came up with 3 tips for opera companies worldwide and for the opera-curious people out there.

Opéra de Montréal’s 5 à 7 at Stingray’s Head Office. Photo: Alex Lagueste

Tip #1: Get the support of your current young patrons

Young professionals are looking to expand their networks and their fields of interests, all while having a good time doing it. Many artistic-oriented organizations now work with independent committees dedicated to democratizing a specific art form, and opera companies should not shy away from those resources. These committees are made up of young professionals from various industries who are bringing their personal and professional experience toward sharing their passion– or a least their growing interest – for opera. They are the equivalent of the friend who suggests trying out a new restaurant. A first contact with the opera from a trusted source eliminates the intimidating step of entering the opera house and not knowing what to expect.

With social media, it’s easy to forget the importance of in-person interactions. But if the mountain won’t come to you, you must to go to it. The committees also organize small- and large-scale events for young patrons, such as cocktails before a performance to full-blown parties on stage. Those events are a great way to introduce new audiences to the world of opera in a setting that is not intimidating. Instead of having to sit quietly in a concert hall for over two hours, they can engage with others who are familiar with opera (or not!) all while sipping wine in a casual environment. Plus, the events are either free, decently priced or represent a donation (so a tax receipt!), which is much easier to accept than spending money on a concert you are not sure you will enjoy.

Operanation, Canadian Opera Company’s main fundraising event for art-patrons and the opera-curious.

Tip #2: Give opera the introduction it deserves

Either during an event, at a pre-concert talk, or on social media, it is important for opera companies to discuss the performance in terms that new operagoers will understand. There is no immediate gain in discussing the phrasing of a particular aria if the people listening do not understand those terms to begin with. And name throwing is usually useless unless you mention Callas or Pavarotti.

When you explain an opera, not only do you want people to understand, you want them to remember what you said. But more importantly, you hope that they will be able to later explain it to others as well. During the reception in Stingray’s Montreal Head Office, composer, producer and songwriter Pasquale D’Alessio compared Beethoven’s Für Elise to the present hit Havana by Camila Cabello. In short, this is what he discussed:

It’s not about being educated for the opera, it’s about being open to experiencing music in a different way – for the majority of the 20th century we have inherited the ability to perceive music through the genre of the song, so naturally, being confronted with opera is a challenge at first, however, music is a human universal and a reflection of drama so it becomes about shifting gears and expectations from song, to a different form using your imagination. People need to follow the drama, the character and intrigue, much like watching a film or binging Game of Thrones – and it’s important to know that it’s ok not to like what you see or hear, but that doesn’t mean you don’t like opera, it just means you don’t like THAT opera or THAT production. There is an infinite amount of ways to enjoy music by using the faculty of your imagination – think about how film has been able to input classical music into the mainstream like Mozart’s Requiem through X-MEN, Chopin’s Nocturne from The Pianist, and Moonlight Sonata in a thousand different places. The medium of film fills in the gap of what drama should be attached to an instrumental piece, and then, all of a sudden you have Mozart’s Requiem on repeat. So it isn’t a matter of education but of imagination, and unfortunately, as amazing today’s technology is, I’m afraid it might be dulling our capacity to dream. Music is a profound reflection of the oldest mode of being – drama, and it’s not a matter of the intellect, it’s a matter of the soul, so you must open up to it with your heart.

Composer, producer and songwriter Pasquale D’Alessio comparing Beethoven to Camila Cabello. Photo: Alex Lagueste

Tip #3: Give the audience a taste of what they’ll see

If you’re going to follow through with the first two tips, it is almost impossible – or unthinkable – to not finish with this last one. Show them what it’s all about! It might seem obvious, but it’s exactly because it is so obvious that you can sometimes miss it. The intimacy a small space gives is completely different than the experience you get from a 3000 seats venue. People are often impressed the first time they hear an operatic voice and are mesmerized by what the body can do. Plus, no evening would be complete without a performance!

Soprano Chelsea Rus and baritone Nathan Keoughan. Photo: Alex Lagueste

And because Pasquale writes better conclusions than me, I leave you with these hopeful thoughts.

There is a struggle in keeping the tradition of opera while moving forward, and it is my sincere belief that conservatism in opera can sometimes act as a noose around its neck. It’s important to understand the zeitgeist of the culture if opera is to become as culturally relevant as it once was, and that might mean a radical shift in its creation while maintaining at low resolution, its fundamental principles. The problem with the “purest” attitude towards opera is that it gives rise to ideology as opposed to genuine artistic belief – which knows no bounds. Remember, Mozart, Beethoven, Verdi, and Puccini were all considered avant-garde at some point or another, and what we call their “style” is merely a reflection of the underlying musical assumptions of their time. So why not use an all-electronic orchestra? Or melodrama composition techniques? Or operas with a plot so intriguing they are turned into Oscar-winning movies? Or motifs reminiscent of the latest Stranger Things opening theme? All should be possible and should be measured against the eternal standard of music – not the ideology of critics. One foot in the past, and the other in the future.

Pasquale D’Alessio, composer, producer and songwriter

Opera With Pearls challenges preconceived notions about opera as companies worldwide creatively redefine the art form. It is a lifestyle with opera at its core. All the glam without the snob.

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This article was originally published on operawithpearls.com. Reproduced with permission from the author.

10 Opera Inspirations for your New Year's Resolutions | Opera With Pearls

Opera with Pearls — Tue, 09 Jan 2018 23:42:32 +0000

10 Opera Inspirations for your New Year's Resolutions | Opera With Pearls Opera with Pearls Tue, 01/09/2018

With the New Year comes New Year’s resolutions. Most of us will set different goals as this year begins, and whether they are realistically accessible or not is not the question. You might sign up at the gym, which in a few months will turn into a monthly donation to the gym. Or you might want to find a new job because you truly believe that Mondays shouldn't be dreaded this much. Or maybe you'd simply like to give flossing a fighting chance.

Drawing inspiration from the most popular resolutions for 2018, we wondered which goal would our favorite opera characters set for themselves. Do you share new goals with Salomé or with Schaunard?

1. MAKE NEW FRIENDS

Who needs fake people in their life? Canio, the main character in Pagliacci by Leoncavallo, should definitely get new friends. Hours before a performance, Canio finds out that his wife Nedda has an insistent admirer and a lover among their troupe. Jealous and suspicious, he is incapable of remaining in character during the performance - which is literally the same storyline as the current events in his life - and he Nedda and Silvio, her lover, to death. Sometimes, the saying ''The show must go on'' is just not fitting anymore. Cut the act, it's time to get those toxic people out of your life and make room for new ones. Hot tip: opt for not answering their texts instead of Canio's more drastic solution.

2. TAKE UP A NEW HOBBY

Logging off Facebook and Netflix is challenging (for me anyway), but how about spending those endless lost hours on a new hobby? Taking yoga classes, going outside to photograph urban life, I even hear knitting is making a comeback. Salomé, in the opera of the same name by Strauss, should find an activity to get her mind off John the Baptist, currently imprisoned by her step-father Herodes. She goes to great lengths to just kiss John.... well, to kiss his severed head. Had she taken up a new hobby to occupy her time, the story would have been veeeerrry different (and not dramatic enough for an opera, so we'll give her a pass?). All I'm saying is, perhaps try something new in 2018, and you might realize that what you desperately wanted before isn't all that anymore.

3. FIND A NEW JOB

In 2018, make it a goal to wake up happy every morning. Happy to go to work. Sounds impossible? Then perhaps you are like Leporello in Don Giovanni by Mozart, and it's time to look for a new job. Maybe you don't adhere to the work culture, maybe your coworkers are free-riders, or maybe, like Leporello, your boss is upright unpleasant. Don Giovanni makes his servant recite his - many - conquests, distract the men while he seduces their fiancées, and pose as him to serenade... his wife! Talk about breaking about every professional employer-employee rule! Hot tip: Find a work environment where you will be rewarded (properly!) for your work and where your boss isn't carried into fires of hell by a chorus of demons.

Finley as Giovanni and Ketelsen as Leporello, Metropolitan Opera, 2012

4. QUIT DRINKING (OR THE MODERATE APPROACH: DRINK LESS)

The holiday season can be gruesome on your waistline and especially your liver. The new year is then the perfect time to quit drinking, not only to detox and reboot your body, but ultimitely to avoid any awkward situations. Falke, in Die Fledermaus by Johann Strauss II, learned his lesson the hard way. See, he was left by a friend in the centre of town, dressed as a bat and intoxicated. (Fledermaus is German for ''bat''.) To have his revenge, he plans an evening filled with flowing champagne and intrigue. Actually, this could be a resolution for pretty much every character in this opera. The evening is all fun and games until they all wake up in jail! Blaming it on the alcohol (as Jamie Foxx put it) worked this time around, but won't always!

5. SAVE MONEY

YOLO is out, 2018 will be all about planning ahead! That trip you wanted to go on? Those front row seats at a performance of your favourite opera? Or simply making ends meet? It's time to save up for the things your desperately need or want instead of giving into immediate pleasures. Opera character most suited for this resolution? Schaunard from Puccini's La Bohème, hands down! Soon after the opera begins, Schaunard walks into the crummy apartment he shares with his friends announcing that he has made money (playing violin to a rich man's dying parrot) and that they should all go out to celebrate his good fortune! A kind-hearted character without a doubt, but saving up money for a rainy day can't hurt.

Marco Vinco as Colline, Gabriele Viviani as Marcello, Alessio Arduini as Schaunard and Teodor Ilincai as Rodolfo in John Copley's Royal Opera production of La bohème, 2013.

6. FOCUS ON SELF-CARE

New year, new me. Sometimes, you feel as though you haven't done what you wanted, or you're not who you thought you'd become. The greatest project you'll ever work on is yourself, so why not take 2018 to focus on self-care, on being happy. It's what we wish for Eugene Onegin, in the opera of the same name by Tchaikovsky. This character is similar to Mr Darcy from Pride and Prejudice, but the opera does not have the same happy ending. Onegin refuses the advances of Tatyana only to realize years later, once she's married, that he does love her. Oh, and he kills his friend in a duel. We wish Onegin happiness and good luck to find his true purpose in life.

Dmitri Hvorostovsky, Eugene Onegin, Metropolitan Opera, 2007

7. BE MORE INFORMED

Fake news everywhere lately, it's hard to know who and what we should believe. Trust seemed to be a rare commodity last year, especially in the media. Otello, of the opera by Verdi based on the play Shakespeare's play, learned the dangers of trusting only one source. Turns out Iago wasn't very loyal to the governor and poisoned his mind, while pretending to be his friend. Otello, convinced by Iago's schemes that his wife Desdomena has been unfaithful, kills her in the final act of the opera only to realize moments later the terrible mistake he has made. Lesson learned the hard way for Otello, commit to double-checking the facts in 2018.

Jonas Kaufmann and Marco Vratogna in Verdi's Otello at the Royal Opera House

8. LEARN A NEW SKILL

Kinda like taking up a new hobby, but with some purpose in mind. For us, it could be something like mastering PowerPoint to make badass presentations. In opera, it would be more like sword fighting - because they are ALL obviously already masters of disguise (check Cosi fan tutte if in doubt). Learning a new skill is not necessarily because you are not good at something, but rather because you want to be better. Just like Figaro, in Mozart's Le nozze di Figaro, because you never know when your master, the Count Almaviva, might try to snuggle with your new wife, and you'll have to find a new scheme to prevent it!

Yngve André Søberg (Figaro) and Ingeborg Gillebo (Cherubino), Oslo Operaen, 2016

9. SPEND MORE TIME WITH FAMILY

It shouldn't take getting lost in the woods and abducted by a children-eating witch to realize you love your family, despite their (sometimes obvious) flaws. Hansel and Gretel sure learned that there's no point in crying over spilt milk, and now so do their parents. Based on the Grimm brothers' fairy tale, Humperdinck's opera has one important lesson for your new year's resolution: cherish the times you have with your loved-ones over your passing troubles. Especially if there is a gingerbread house near.

Alice Coote, Philip Langridge and Christine Schäfer, Metropolitan Opera, 2007

10. HAVE NO NEW YEAR'S RESOLUTIONS

And lastly, for those who are not committing to any new year's resolutions in 2018, you are like Carmen, in the opera by Bizet, whether because you know you never follow through with your good intentions come February or because you simply don't see the New Year as a beginning for something. Carmen only commits to who she is - an ''oiseau rebelle'' that cannot be tamed - and to the plot, for better or for worse. She knows who she is, and she wouldn't change it for anything in the world.

One word for the New Year to all of you reading: integrity. Become who you want, do what you want, achieve the impossible, but never lose sight of your true self in 2018.

Elina Garanca, Carmen, Metropolitan Opera, 2010

Opera With Pearls challenges preconceived notions about opera as companies worldwide creatively redefine the art form. It is a lifestyle with opera at its core. All the glam without the snob.

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This article was originally published on operawithpearls.com. Reproduced with permission from the author.

Bold New Look and Feel for Stingray Brava

Justine — Thu, 12 Jan 2017 21:20:44 +0000

Bold New Look and Feel for Stingray Brava Justine Thu, 01/12/2017

Stingray is proud to offer classical music, opera, and ballet aficionados a new way to experience the music that moves them: Stingray Brava! Following the July 2015 acquisition of Brava, Stingray has rolled out refreshed and contemporary new looks for the channel, which have been rebranded as Stingray Brava.

Same Great Programming

Stingray Brava will continue offering viewers the same expertly-curated programming they have come to expect from the team behind the leading television channel dedicated to classical music, opera, and ballet.

“I am thrilled to be reintroducing Stingray Brava after a journey of over a year,” said Eric Boyko, President, Co-founder and CEO. “We worked closely with the channel’s original content and artistic teams to develop designs that represent the quality programming and will connect with new and existing viewers. I am confident Stingray Brava will find its audience with lovers of music everywhere.”

New Look and Feel

Music fans will be greeted by an entirely new experience – including bold and exciting channel designs, new logos and colours.

The new Stingray Brava design was inspired by the grandiose interiors of the world’s most beautiful performance halls. The gold and black colour palette, borrowed from the wood and copper of musical instruments, reflects the brand’s sense of tradition, elegance and sophistication while the use of the Argo font creates a resolutely modern and approachable feel. Striking visual elements and a textured background add depth to the viewing experience.

Enhanced Online Experience

The Stingray Brava experience continues online with a brand new web platform.

The website has been rethought to provide visitors with an immersive experience that includes increased visual and video content, as well as fast and easy access to schedules by program type.

A Commitment to Great Music

This redesign effort reflect Stingray’s commitment to offering viewers the best experience across all platforms and mark a crucial step in the global development plans for Stingray Brava. Stingray aspires to make the channel available and indispensable to music connoisseurs worldwide.

“Music is at the heart of Stingray. The extensive work put into redesigning Stingray Brava is a testament to our passion,” said Rob Overman, Artistic Director, Europe, for Stingray. “Joining the Stingray family is a tremendous opportunity to bring our love of classical music to an even wider audience. The look may have changed, but the unmatched quality programming will stay the same.”

Stingray Brava, Your guide to classical music

Ours – Robert Chafe & John Estacio | Interview

Sydney — Thu, 01 Dec 2016 16:00:41 +0000

Ours – Robert Chafe & John Estacio | Interview Sydney Thu, 12/01/2016

We were joined by Robert & John, the composer and librettist of Ours. This opera was a part of the Opera America World Opera Conference. They tell us about the Battle of Beaumont-Hamel, how it changed Newfoundland forever and how they tried not to glorify the art of war while still showcasing beautiful music.