First up is an anniversary gala set for Jan. 24, 2025 featuring Thomas Dunford, Juan Diego Flórez, Lisette Oropesa, Lea Desandre, and Ludovic Tézier. The event will be showcased on France 5 with a documentary “Une journée extraordinaire: 24 heures à  l’Opéra Garnier” spotlighting the event.

Then on May 11, 2025, there will be a concert featuring the Rolex Ambassadors, including Bryn Terfel, Sonya Yoncheva, Juan Diego Flórez, Sonya Yoncheva, and Rolando Villazón, among others. Yannick Nézet-Séguin conducts the Vienna Philharmonic Orchestra.

There will also be an exposition detailing the history of the opera house from Oct. 14, 2025 through Feb. 15, 2026. Historic costumes and wardrobe will also get the spotlight in an exhibition that will run through January 2026.

Audiences will get to experience “Le Palais Garnier, objet de tous les fantasmes” featuring historians, architects, politicians, journalists, musicians, and artists to debate about the legend of the opera house and its history. The event takes place from Nov. 22-23, 2025.

Finally, the company will present PROJECT 12, a residency featuring one artist per month, showcasing one unique work of art.

The post Opéra National de Paris Announces 150th Palais Garnier Anniversary Events appeared first on OperaWire.

The company said, “In tonight’s performance of ‘Madama Butterfly,’ soprano Ailyn Pérez plays the role of Cio-Cio-San in place of Sonya Yoncheva, who has not recovered from the effects of the cold she has suffered in recent days.”

Pérez previously stepped in for Yoncheva during the Dec. 15, 2024 performance. She is currently performing in another cast of the same production and is also set to perform on Dec. 22.

Pérez will join a cast that includes Matthew Polenzani, Annalisa Stroppa, and Lucas Meachem. Paolo Bortolameolli conducts the production.

Yoncheva returns to the production on Dec. 27 and will be replaced on Dec. 23 by Saioa Hernandez due to a scheduling conflict.

The post Gran Teatre del Liceu Announces Cast Change for ‘Madama Butterfly’ appeared first on OperaWire.

The company announced via social media that Sonya Yoncheva has withdrawn from the showcase due to illness. She will be replaced by Ailyn Pérez, who sang the performance on Dec. 15, 2024.

The two sopranos have been alternating the title role alongside Saioa Hernández since the opera opened on Dec. 8, 2024. Pérez has sung the performances on Dec. 8, 11, 15, and will conclude her run on the 22. Yoncheva started on Dec. 9 and 13, and is set to return for Dec. 20 and 27 performances. Finally, Hernández opened her run on Dec. 10 and sang on the 14; she is scheduled for shows on Dec. 17, 21, 23, and 28.

Pérez joins a cast Dec. 16 that includes Annalisa Stroppa, Matthew Polenzani, and Lucas Meachem. Paolo Bortolameolli conducts.

The post Gran Teatre del Liceu Announces Cast Change for ‘Madama Butterfly’ appeared first on OperaWire.

Puccini’s “Tosca” is, in effect, a historical 18^th Century fable as seen through 19^th Century eyes; still resonating here in the  21st Century purely because its story of love over politics – played out by Tosca, an opera singer; her lover the heroic painter Cavaradossi; and the thoroughly unpleasant dictator Baron Scarpia – combine to produce a timeless, almost feasible tale.

The problem with long running or much revived productions is that unless you can constantly attract new audiences, they can only stand the test of time for so long. As handsome as this still looks, Jonathan Kent’s creation is beginning to look a tad threadbare at the edges and is rumored to be on its last run.

Designer Paul Brown’s sets are still suitably atmospheric and Mark Henderson’s light creations serve well in intensifying the mood by highlighting key components of the set. The first act Church of Sant’ Andrea Della Valle, brooding ecclesiastic solemnity with its gilded staircases flanking a large effigy of the “Madonna;” a huge wall mural, “a la Michalangelo’’ accessible only by elevated, scaffolded supports to enable our hero, Cavaradossi, to work on his masterpiece.

The “Madonna,” however, pales into insignificance in the impressive stakes with the gargantuan  and most realistic depiction of “Archangel Michael slating Satan” statue that takes centre stage for the second act in Scarpia’s apartment within the Palazzo Farnese. I always found this enormous prop to be both wonderfully iconic and IRONIC, given the absolute hellish and devilish nature and disposition of the Baron whose quarters the statue looks down upon.

Born to Sing This Role

And there can surely be no better satanic incarnation than globally acclaimed Sir Bryn Terfel, who was born to sing this role. Tangibly malevolent, a big man with a big presence and character, he struts around with rancor and loathing in equal measure. He appears towards the end of act one  at the top of the staircase in the church, surveying his subjects with distaste; an almost visible aura permeating from his imposing figure. The voice has lost some of its steel of late, but his lustrous, bass-baritone still possesses much beauty. His “Te Deum” at the cessation of the first act is spellbinding, not just because of his vocal endeavors but because of his sheer magnetism which compels one to not take your eyes off him. In a brief interview with him two years ago, I opined that he seems to get better in the role the more he sings it. He responded that he had “grown into the role” over the years and that the music takes over him; such is the “power of Puccini.”

The object of his lascivious desires on this occasion, is the Welsh soprano Natalya Romaniw standing in for Sonya Yoncheva. As Floria Tosca, for the most part, she portrays an endearing character. Her interactions with her beau, Cavaradossi, in the first act were, in turn, comedic and enchanting.  I perceived that she lacked gravitas in her second act engagement with Scarpia and I felt she lacked conviction the way she first repelled him and ultimately dispatched him. She rallied well for the final act with Cavaradossi on the prison roof, from where Tosca eventually leaps to her doom.

Vocally, she has much beauty when singing softly, but I found her to be lacking penetration in the upper register and, at times, producing an occasional hint of shrillness at the top where I felt she was over-exerting. Moreover, I noted a lack of clarity in her enunciation. Her duet in the first act was accomplished and her explanation to Cavaradossi on how she had thwarted Scarpia’s lustful endeavors, together with her directions on how her lover should act and fall in his “mock” execution made for an enjoyable final act.

She was most brave in commencing her famous, second act aria, “Vissi D’arte” facing back of stage, seemingly huddled to the giant archangel statue, which produced some impedance to her efforts, and the final passage, “perché, perché, Signore, ah, perché me ne rimuneri così?” lacked any real impetus and the desperation necessary to really nail the piece.

Anyone reading South Korean tenor SeokJong Baek’s resume might ask questions as to how, having sung baritone for around 15 years up until the corona virus pandemic, he has enjoyed what can only be described as a meteoric rise, debuting in tenor roles at the Royal Opera House, the Met and elsewhere. Had those posing such queries been present at this performance, I have no doubts they would have received conclusive answers. For SeokJong  possesses a powerful, dynamic tenor instrument, reinforced with its baritonal undertones, that positively pings all around the auditorium. A gleaming, brilliant top with squillo, he also employs an occasional, subtle guttural sob, a pleasing inflection that adds potency to his endeavours. It was fellow South Korean tenor, the acclaimed  Yonghoon Lee who suggested to SeokJong that, despite already having a good baritone voice, he could triumph as a tenor. He subsequently, to piano accompaniment, attempted to sing “Recondita armonia” where he surprised everyone with his upper register. If it sounded anything like his take on the romanza from this performance, it wouldn’t be difficult to see why it was thought he had great potential. Wonderfully powerful sung with beautiful legato on the line “E te, beltade ignota.” That fine breath control and legato again in evidence in his duet with Tosca where he sings “Ah! M’avvinci nei tuoi lacci, mia sirena” and again when singing the line commencing “Quale occhio al mondo può star di paro.”

His cry of “Vittoria! Vittoria!” in the second act was most potent, impactive without any hint of the  ostentation that some tenors frequently imbue it with.

His performance of the opera’s keynote aria, “E lucevan le stelle” was very emotive and deserving of applause that the orchestration didn’t leave room for.  SeokJong Baek is a remarkable talent whose star is, unquestionably, (I predict) going to continue to soar.

British bass-baritone Ossian Huskinson did a splendid job as escapee Cesare Angelotti, a rich tapestry of vocals which denoted well the angst and despair of the former consul.  Another Jette Parker member destined for good things.

Italian bass Maurizio Muraro sung a formidable Sacristan with deep, expansive clarion tones, perhaps the finest I have heard in this role. Moreover, he conducted his duties here in a suitable, curmudgeonly yet jocose pantomime fashion.

Scarpia’s right hand-man and lackey, Spoletta, is here admirably effected by Welsh character tenor Aled Hall who was fabulously obsequious and strolled around, in the words of an Al Stewart song, like Peter Lorre contemplating a crime.

The chorus of the Royal Opera sung with their usual gusto, as did the children’s chorus whose antics in church in the first act contrasted brilliantly with the oppression and sternness of the Baron.

Eun Sun Kim is making her debut in this role, commanding the Royal Opera orchestra. With his passion for dramatic and exciting orchestration, Puccini can easily overwhelm the singers with his enthusiastic scores, and it takes a knowledgeable and deft baton to keep a good balance. For the  most part, she succeeded in maintaining that balance although I would have liked her to afford the opportunity for the audience to show their appreciation for particular passages and arias by way of applause.

I started this review by suggesting that it is important to perhaps look to something new and fresh in order to attract both new and ongoing audiences.

In the centenary of the great maestro’s death, perhaps with its heady mix of politics, love, death and devotion Tosca will always hold up well as a Puccini masterpiece.

The post Royal Ballet & Opera 2024-25 Review: Tosca appeared first on OperaWire.

The recording company announced, “Naïve is honored to announce its collaboration with internationally renowned soprano Sonya Yoncheva for the release of her album, GEORGE. This profoundly personal project, inspired by the life and artistic universe of George Sand, will be unveiled on January 24, 2025.”

Yoncheva added, “I am delighted to start working with naïve for my upcoming recital album, ‘GEORGE,’ and my most recent aria album, ‘The Courtesan.’ ‘GEORGE’ will be released in collaboration with my own company, SY11, while naïve will, from now on, be responsible for the distribution of ‘The Courtesan.’ It is a great pleasure to work with the fantastic team at naïve, and I am looking forward to joining forces for these two projects that are so dear to my heart.”

The Head of A&R at naïve classique added, “It is with immense joy to collaborate with Sonya Yoncheva, one of the most extraordinary voices of our time. For many years, we have admired her impeccable artistry, vocal brilliance, and magnetic stage presence. We are deeply honored by her trust and are committed to providing the utmost support for the release of ‘GEORGE,’ a new project that so beautifully encapsulates her artistic vision and celebrates the timeless figure of George Sand. We will also take over the distribution of ‘The Courtesan,’ Sonya’s last album, a true jewel gathering the most beautiful opera arias. Welcome at naïve, Dear Sonya!”

“GEORGE” will explore art songs, duets, works for piano, piano and violin as well as spoken texts, all connected to one of the most famous authors of the 19th century, George Sand. Yoncheva is joined by pianist Olga Zado, mezzo-soprano Marina Viotti, and violinist Adam Taubitz. The soprano can be heard not only singing, but also reciting letters from and to George Sand as well as a poem by the renowned author.

The post Sonya Yoncheva Announces New Collaboration with Naïve appeared first on OperaWire.

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In a statement via social media, Paolo Petrocelli, head of the Dubai Opera said, “The recognition reflects the cultural, social, and economic impact we strive to create in the UAE and beyond. Thank you to our community for being part of this journey of inspiration and innovation.”

Other businesses included on the list include Emirates Airline, NEOM, Emaar Properties, e&, Burjeel Holdings, RAK Properties, Spinneys, Jumeirah Group, ROSHN Group, and Aramco.

The Dubai Opera recently presented a concert with Placido Domingo and Sonya yoncheva and is set to showcase the Teatro alla Scala orchestra and a production of “Madama Butterfly.”

The post Dubai Opera Among Arabian Business’ 100 Most Admired Companies appeared first on OperaWire.

The Verbier Festival Orchestra and Barbara Hannigan perform works by Berlioz, Haydn, Copland, Rodgers, and Bill Elliot.

Thomas Hampson and Ksenija Sidorova perform works by Schubert and Weill.

The VF Academy Atelier Lyrique and Caroline Dowdle present a recital.

Performance Date: July 21, 2025

The VF Academy Atelier Lyrique and James Baillieu present a recital.

Performance Date: July 24, 2025

Fabio Luisi conducts Puccini’s “Gianni Schicchi” and Mascagni’s “Cavalleria Rusticana.” Puccini’s work will star Bryn Terfel, Ying Fang,  and Sungho Kim while Mascagni’s work will star Lise Davidsen, Freddie De Tommaso, and Ludovic Tézier.

Performance Date: July 24, 2025

Benjamin Appl and James Baillieu perform works by Schubert, Schumann, Brahms, Wolf, Fischer-Dieskau, Britten, Barber, and Walter.

Performance Date: July 25, 2025

Leonardo García Alarcón conducts Bach’s Mass in B Minor with Ying Fang, Mariana Flores, Alice Coote, Bernard Richter, and Benjamin Appl.

Performance Date: July 26, 2025

Fabio Luisi conducts Rossini’s Stabat Mater with Sonya Yoncheva, Alice Coote, Sunnyboy Dladla, and Ludovic Tézier. The concert also includes music by Haydn.

Performance the Date: July 28, 2025

The VF Academy Atelier Lyrique, VF Academy Soloists, and VF Academy Ensembles present an evening of music.

Performance Date: July 30, 2025

Viktoria Postnikova is joined by Ekaterina Semenchuk and Maharram Huseynov for an evening of Shostakovich.

Performance Date: July 30, 2025

Tchaikovsky’s Eugene Onegin” will be performed by the Verbier Festival Junior Orchestra and conducted by Stanislav Kochanovsky. The VF Academy Atelier Lyrique will star with Tim Carroll directing.

Performance Date: August 3 2025

The post Sonya Yoncheva, Lise Davidsen, Ying Fang, Benjamin Appl, Thomas Hampson & Freddie De Tommaso Lead Verbier Festival’s 2025 Season appeared first on OperaWire.

As the holiday season arrives, this week also features several high-profile recordings by superstars including a Christmas album that features many classics.

Schubert Lieder 

Countertenor Philippe Jaroussky releases a new album of Schubert Lieder.

In a statement, he said, “Schubert’s music has been with me always, throughout my career as a musician: violinist, pianist, and ultimately singer. This album is a declaration of love, for his genius but also for the German language. I am delighted to rejoin Jérôme Ducros, on this our third album together, and in this program of Lieder we’ve carefully selected.”

Aletheia

Ondine releases Aletheia, choral works by New York-based Lithuanian composer Žibuoklė Martinaitytė. The album features four choral works exploring the direct emotional expression of singing voices without a text. The works are performed by the Latvian Radio Choir under the direction of Sigvards Klava.

Tales of song and sadness

“Tales of Song and Sadness” is released featuring a double tribute commemorating the demise of Frans Brüggen and Louis Andriessen. The recording features the Orchestra of the Eighteenth Century and Cappella Amsterdam, under the direction of Daniel Reuss.

The Christmas Album 

Benjamin Appl continues his collaboration with Alpha Classics celebrating Christmas through the enduring tradition of Bach chorales and popular carols. Appl is joined by Germany’s children’s choir Regensburger Domspatzen, the Munich Radio Orchestra, and his mother on guitar.

In a statement, he said, “Christmas evokes intense memories and emotions in all of us. It takes us back to our childhood: that sense of magic and excitement, so often reawakened by the sight of a traditional Nativity scene, or the lights on a Christmas tree, or by hearing Christmas carols. It was with all these images in mind that I returned to my hometown to record this album with ‘my’ boys’ choir. When, after more than twenty years, I found myself back among the choristers and heard the familiar sound, the emotion was very intense.”

Dark Hymnal

Composer David T. Little releases a brand new album, “Dark Hymnal,” on Cantaloupe Music.

“Dark Hymnal” is a series of electronic “meditations” derived from Little’s opera film “Black Lodge,” and includes samples from the opera’s original soundtrack, performed by Timur and the Dime Museum and Isaura String Quartet and featuring text by librettist Anne Waldman.

In a statement Little says, “As you listen, your ears might deceive you, at times making you think you hear things that aren’t actually there. It might at other times feel as if the music—and the audio—is attempting to crack out of the frames which contain it: sounds throb and push against speaker cones; chords melt, or vanish after merely a hint, their harmonies showing one path, then pivoting toward another, more dangerous, more enticing. Dark Hymnal may feel simultaneously lulling and disconcerting, comforting and perplexing, and even at times, frightening; a work with its spiritual roots in the world of Black Lodge.”

Kris Defoort: The Time of Our Singing

Kris Defoort’s fourth opera is recorded by Claron McFadden, Mark S. Doss, Simon Bailey, and Levy Sekgapane. La Monnaie Chamber Orchestra is conducted by Kwamé Ryan.

Gluck: Iphigénie en Aulide

Alpha Classics releases a new recording of Gluck’s only French opera. The recording stars Judith van Wanroij, Stéphanie d’Oustrac, Cyrille Dubois, Tassis Christoyannis, and Jean-Sébastien Bou. Les Chantres du Centre de musique baroque de Versailles and Le Concert de la Loge is conducted by Julien Chauvin in his first operatic recording.

Jacques Offenbach: La Vie Parisienne

Anne-Catherine Gillet, Véronique Gens, Artavazd Sargsyan, Sandrine Buendia, Marc Mauillon, Jérôme Boutillier, and Pierre Derhet star in this classic Offenabch work. The Orchestre National et Choeur du Capitole de Toulouse is conducted by Romain Dumas. Bru Zane releases.

Choir Concerto

The SWR Vokalensemble is conducted by Yuval Weinberg in music by Alfred Schnittke, Artemy Vedel, and Dmitry Bortniansky. SWR Music releases the album.

Giacomo Puccini: Messa di Gloria

BR Klassik releases Puccini’s work with Tomislav Mužek, and George Petean. Ivan Repušić conducts the Bavarian Radio Chorus and Munich Radio Orchestra.

In a review by OperaWire, Bob Dieschburg said, “The Croatian demonstratively purges the score of the operatic, turning out a surprisingly refined, and lyrical interpretation of this almost-renegade in the Puccini repertory.”

Welcome Joy – A Celebration of Women’s Voices 

Chandos releases Freddie Crowley and his Corvus Consort new album and is joined by harpist Louise Thomson. The album features music by Gustav Holst, Imogen Holst, Elizabeth Poston, Judith Weir, Gemma McGregor, Olivia Sparkhall, Hilary Campbell, and Shruthi Rajasekar.

Puccini: Tosca

C Major releases Puccinio’s timeless thriller from the Arena di Verona. Recorded in June 2023, the work stars Sonya Yoncheva, Vittorio Grigolo, Roman Burdenko, Carlo Bosi, and Giorgi Manoshvili. Francesco Ivan Ciampa conducts the classic production by Hugo de Ana.

Carl Maria von Weber: Der Freischütz

C Major Releases Bregenz Festival’s production of Weber’s famed work. Recorded in July 2024, the opera stars Mauro Peter, Nikola Hillebrand, Christof Fischesser, Katharina Ruckgaber, and Moritz von Treuenfels. Enrique Mazzola conducts Philipp Stölzl’s production.

Verdi: Ernani

Verdi’s early work is released by C Major Entertainment from the Bregenz Festival. Saimir Pirgu, Guanqun Yu, Franco Vassallo, and Goran Jurić star in the recording which was made in August 2023. The Prague Philharmonic Choir and the Wiener Symphoniker are conducted by Enrique Mazzola. Lotte de Beer directs.

Then and Now

American tenor Gregory Kunde releases a new album in which he looks back at the music he first fell in love with as a boy, the pop jukebox standards of the day, delivered by the likes of Sinatra, Bennett, and Darin. Delos releases the new album.

Andrew Lloyd Webber: Requiem & Samuel Barber: Adagio for Strings

BR Klassik releases the live recording from the Herz-Jesu Church in Munich that was made in 2023 as a tribute to the British composer’s 75th birthday. The requiem stars Soraya Mafi, Benjamin Bruns, and Florian Markus/Henrik Brandstetter. Patrick Hahn conducts.

The post Sonya Yoncheva, Benjamin Appl, Philippe Jaroussky, Gregory Kunde & Saimir Pirgu Lead New CD/DVD Releases appeared first on OperaWire.

The performances in question include the Oct. 31 showcase that featured Rubén Gimeno conducting the Orquesta de València and the Nov. 3 concert that was part of the XII Edición del Rafelfestival. The concert hall expects to reopen on Nov. 5 for the Luxembourg Philharmonic performance conducted by Gustavo Gimeno.

Due to the severe flooding, roads transformed into rivers with little warning as flash floods tore through the eastern region of Valencia, with muddy rapids flinging parked cars in what many are calling the worst natural disaster to hit the European nation in a century.

Opera singers Piotr Beczala and Sondra Radvanovsky have sent out messages of hope and comfort. Radvanovsky said, “Sending love and hope to yhe people of Valencia during this horrible time,” while Beczala said, “I am currently on a concert tour through your beautiful country, and I am deeply saddened by the catastrophic floods that have affected so many of you. It is an unimaginable tragedy. Recently, a similar disaster struck my fellow countrymen in Poland, so I understand the pain and challenges that come with such a catastrophe. My heart is with you in these difficult times. I wish you strength and resilience in the days ahead. With all my heart.”

Sopranos Saioa Hernández and Ainhoa Arteta also posted about the tragedy and urged people to shelter dogs from a shelter in Valencia.

The Teatro Real had a moment of silence for the victims of the tragedy.

Lisette Oropesa also too to social media and said, “The people of this region are in my heart and prayers. This tragedy was unexpected and very sad. For all that can help, let’s support the people of this beautiful place. We move forward with strength and kindness. My concert in Bilbao on November 6 will be a charity function dedicated to the victims of the Dana. If you want to help, go to the site in the comments.”

Sonya Yoncheva added, “I’m in absolute shock to see these images! I was in Spain a few days ago enjoying the sun and joy of this wonderful country and I can’t believe all that is happening! I’m with you guys in my thoughts! Take care of yourselves! Sonya.”

The post Palau de la Musica de Valencia Cancels Concerts While Opera Stars Send Messages Amidst Tragedy in Valencia appeared first on OperaWire.

This article only features vocal works.

Sopranos Emőke Baráth and Lauranne Oliva, countertenor Tim Mead, tenor Robin Tritschler, and baritone Benjamin Appl are soloists in Handel’s “Messiah.” They are joined by The Spiritual Concert orchestra and choir and directed by Hervé Niquet.

Performance Dates: December 11, 2024

Mezzo-soprano Lea Desandre sings Sapho, Iphise and Eglé in Rameau’s “Les Fêtes d’Hébé” at the Opéra Comique. She is accompanied by Thomas Dunford on the lute.

Performance Dates: December 13 – 21, 2024

Lea Desandre performs at the Philharmonie de Paris for the 80th-anniversary concert of William Christie.

Performance Date: December 14, 2024

Soprano Lauranne Oliva and mezzo- soprano Eva Zaïcik present Pergolesi’s “Stabat Mater.” Vincent Dumestre conducts.

Performance Dates: January 18, 2025

Florian Sempey takes on the title role in Mozart’s “Don Giovanni.” Also among the cast are Ana Maria Labin, Léo Vermot-Desroches, Marion Lebègue, Edwin Fardini, Catherine Trottmann, and Louis Morvan. Alexis Kossenko conducts the Ambassadors and The Great Stables orchestra and choir.

Performance Dates: January 20, 2025

Lea Desandre participates in the Gala concert for the 150th anniversary of the Palais Garnier.

Performance Dates: January 24, 2025

Soprano Pretty Yende performs the title role in Handel’s “Semele” in a new production directed by Oliver Mears at the Théâtre des Champs-Élysées.

Performance Dates: February 6 – 15, 2025

Pretty Yende returns to the Théâtre des Champs-Élysées alongside the Orchestre national d’Île-de-France, under the direction of Pablo Mielgo, for a recital dedicated to the great arias of the musical comedy.

Performance Dates: June 8, 2025

The post Pretty Yende & Lea Desandre Headline Acte 4’s 2024-25 Season appeared first on OperaWire.