This week audiences will get to hear and see new holiday albums, a Puccini album, and rarely performed works. Here is a look at what to buy this season.

Puccini

The celebrated tenor Freddie De Tommaso celebrates Puccini in a new album with the London Philharmonic Orchestra and Edward Gardner. The album features music from “Manon Lescaut,” “Le Villi,” La Boheme” and La Fanciulal del West.” Decca Classic releases.

Die Fledermaus

The Bayerische Staatsoper releases its 2023 production of “Die Fledermaus.” Barrie Kosky directed with General Music Director Vladimir Jurowski conducting. The cast includes Diana Damrau in her role debut as Rosalinde, Georg Nigl as Gabriel von Eisenstein, Katharina Konradi as Adele, and Martin Winkler as Frank.

Past Life / Lifeline

Medtner

Mezzo-soprano and harpist Ekaterina Levental and pianist Frank Peters release a new album on Brilliant Classics dedicated to Russian composer Nikolai Medtner. This fifth CD of this edition is titled “Geweihter Platz” (‘Sacred Space’) featuring more of the composer’s lied.

Would That Loving Were Enough

The first album devoted to music by Lee Kesselman, “Would That Loving Were Enough” is released on Blue Griffin Records. The collection of world premiere recordings is performed by HAVEN comprised by Soprano Lindsay Kesselman, clarinetist Kimberly Cole Luevano and pianist Midori Koga.

George Frideric Handel: Brockes Passion

Naxos will release Handel’s Oratorio in two parts. The DVD was recorded on April 26 and 27, 2023 at Oper Halle, Germany, and features Robert Sellier, Vanessa Waldhart, Yulia Sokolik, Romelia Lichtenstein, Michael Zehe, Jorge Navarro Colorado, Franziska Faust, Christina Mattaj, Leandro Marziotte, and Ki-Hyun Park. The Chorus of Oper Hallea and Händelfestspielorchester Halle is conducted by Michael Hofstetter.

Ferrum Splendidum

Florian Sempey returns to the Alpha label for an album of works by Grétry, Donizetti, Tchaikovsky, Orff, and Wagner. The baritone teams up with the Orchestre National Bordeaux Aquitaine and maestro Victor Jacob.

The Song of Songs, The Poet in Exile

Signum Classics releases an album of works by Walter Arlen, a Jewish composer, originally from Austria, who escaped the country when Hitler invaded Vienna. The album features Anna Huntley, Gwilym Bowen, and Thomas Mole alongside the English Symphony Orchestra and conductor Kenneth Woods.

La Comédie Humaine: Chansons Balzaciennes

Alpha releases an album featuring Arnaud Marzorati and his singers, “Les Lunaisiens.” The album contains musical settings of a wide selection of witty and satirical verse, reflecting all the Parisian themes that obsessed Balzac. Jérôme Varnier, Lucile Richardot, and Cyrille Dubois participate in the album.

Adèle Hugo: Mélodies sur des Poèmes de Victor Hugo

Karine Deshayes, Sandrine Piau, Isabelle Druet, Axelle Fanyo, Anaïs Constans, and Laurent Naouri record an album that pays homage to the composer Adèle Hugo (1830-1915), the fifth child of the great poet Victor Hugo. The Choeur de l’Opéra de Dijon and Orchestre Victor Hugo are led by Jean-François Verdier.

Žibuoklė Martinaitytė: Aletheia

The Latvian Radio Choir and Sigvards Kļava release an album of four choral works that explore the direct emotional expression of singing voices without a text

Monteverdi Testamento: Vespro della Madonna

Perrine Devillers, Éva Zaïcik, Paco Garcia, Cyril Auvity, Romain Bockler, and Viktor Shapovalov perform works by Monteverdi with conductor Vincent Dumestre.

John Rutter: Brass at Christmas

Arranged by Luc Vertommen, the Naxos recording features a selection of John Rutter’s most famous Christmas carols. The  Black Dyke Band and Sheffield Philharmonic Chorus are led by Nicholas Childs and Darius Battiwalla.

The post Freddie De Tommaso, Diana Damrau, Florian Sempey & Karine Deshayes Lead New Holiday CD/DVD Releases 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.

Camilla Nylund, Andreas Schager, and Pietari Inkinen perform an evening of Wagner, Strauss, Kálmán, Lehar,

Performance Dates: Jan. 12, 2025

Zum Rahmenprogramm des Festivals 

Gianandrea Noseda, Hanna-Elisabeth Müller, and Philharmonia Zürich lead an all-Strauss program.

Performance Dates: Feb. 22, 2025

Andris Nelsons conducts Mahler’s Symphony No. 4 with Christiane Karg and the Gewandhausorchester Leipzig. The program also includes music by Dvorak.

Performance Dates: March 7, 2025

Yi-Chen Lin conducts a Bel Canto concert featuring music by Bellini, Rossini, and Donizetti. Regula Mühlemann is the soloist alongside Kammerorchester Basel.

Performance Dates: March 13, 2025

Easter Festival Baden-Baden

Puccini’s “Madama Butterfly” will showcase the Berliner Philharmoniker conducted by Kirill Petrenko. Davide Livermore conducts a cast that includes Eleonora Burrato, Jonathan Tetelman, Teresa Iervolino, and Tassis Christoyannis.

Performance Dates: April 12-20, 2025

Kirill Petrenko will conduct Beethoven’s Symphony No. 9 in D minor and will star Katharina Konradi, Beth Taylor, Sebastian Kohlhepp, and Tareq Nazmi.

Performance Dates: April 18-21, 2025

Antonello Manacorda conducts Weber’s “Der Freischütz” with Charles Castronovo, Golda Schultz, Kyle Ketelsen, Nicola Hillebrand, Dimitry Ivashenko, and Johanna Wokalek.

Performance Date: May 3, 2025

Semyon Bychkov conducts the Tchechische Philharmonie Prag in Smetana’s “Die Moldau.”

Performance Date: May 16, 2025

Performance Date: May 23, 2025

Pfingstfestpiele

Les Siècles and François-Xavier Roth perform music by Pierre Boulez and Debussy with soprano Sarah Aristidou.

Performance Date: June 8, 2025

The SWR Symphonieorchester, François-Xavier Roth, and SWR Vokalensemble lead a program of music by Pierre Boulez and Bruckner.

Performance Date: June 9, 2025

Diana Damrau, Jonas Kaufmann, and Helmut Deutsch perform music by Strauss and Mahler.

Performance Date: June 20, 2025

Elena Stikhina and Vittorio Grigolo lead an opera gala with Jordi Bernàcer and the Philharmonie Baden-Baden.

Performance Date: June 22, 2025

Sommerfestpiele

Performance Date: June 29, 2025

Performance Date: July 4, 2025

Yannick Nézet-Séguin joins the RIAS Kammerchor und Solisten and Chamber Orchestra of Europe for Mozart’s Mass in C.

Performance Date: July 6, 2025

Sonya Yoncheva leads Bellini’s “Norma” with Karine Deshayes, Ștefan Pop, and Alexander Vinogradov. Domingo Hindoyan conducts the Gstaad Festival Orchestra and Chor der Bühne Bern.

Performance Date: August 24, 2025

Tanzfestival 

Cecilia Bartoli and Lang Lang team up for Lieder.

Performance Date: Oct. 31, 2025

Thomas Hampson and Wolfram Rieger perform Schubert’s Winterreise.

Performance Date: Nov. 1, 2025

Festival Le Grand Gare

Rossini’s “La Cenerentola” will star Cecilia Molinari, Levy Sekgapane, Edward Nelson, Misha Kiria, and Alexandros Stavrakakis. Thomas Hengelbrock conducts the Balthasar-Neumann-Chor and Balthasar-Neumann-Orchester. Vincent Huguet directs.

Lionel Sow conducts the Balthasar-Neumann-Chor and Balthasar-Neumann-Orchester in a performance of music by Mendelssohn, Brahms, and Bach.

Mari Eriksmoen and Anna Lucia Richter perform Mahler’s Symphony No. 2 with Paavo Järvi conducting the Zürcher Singakademie and Tonhalle-Orchester Zürich.

Winterfestpiele

Iván Fischer conducts the Budapest Festival Orchestra in Mozart’s “Don Giovanni.” Éva Duda directs a cast that includes André Schuen, Jessica Pratt, Miah Persson, Luca Pisaroni, Bernard Richter, Giulia Semenzato, Daniel Noyola, and Krisztián Cser.

Performance Dates: Dec. 19 & 21, 2025

Iván Fischer conducts a Bach program with soloists Julia Lezhneva, Olivia Vermeulen, Julian Prégardien, and Hanno Müller-Brachmann. Collegium Vocale Gent joins them.

Performance Date: Dec. 20, 2025

Timur Zangiev and the Philharmonie Baden-Baden will lead the silver concert. Soloists will include Aigul Akhmetshina and Piotr Beczała performing arias and duets.

Performance Date: Dec. 31, 2025

The post Jonas Kaufmann, Diana Damrau, Sonya Yoncheva, Rolando Villazón, Jonathan Tetelman & Aigul Akhmetshina Lead Festspielhaus Baden-Baden’s 2025 Season appeared first on OperaWire.

CHORAL

• Delius – “Mass of Life” – Bergen Philharmonic, Sir Mark Elder (LAWO)
• Elgar – “The Dream of Gerontius” – Gabrieli Consort & Players, Paul McCreesh (Signum)
• Parry – “Prometheus Unbound” – London Mozart Players (Chandos)

EARLY

• Josquin – “Motets & chansons” – Cut Circle, Jesse Rodin (Musique en Wallonie)
• Obrecht – “Missa Maria zart” – Cappella Pratensis, Stratton Bull (Challenge)
• Schütz “Italian Madrigals” – Les Arts Florissants, Paul Agnew (Harmonia Mundi)

OPERA (sponsored by Mascarade Opera) 

• Bertin – “Fausto” – Karine Deshayes, Karina Gauvin, Ante Jerkunica, Les Talens Lyriques, Flemish Radio Choir, Christophe Rousset (Bru Zane)
• Janácek – “Káťa Kabanová” – Corinne Winters, Evelyn Herlitzius, David Butt Philip, Vienna Philharmonic, Jakub Hrůša (Unitel; DVD)
• Wagner – “Parsifal” – Jonas Kaufmann, Ludovic Tézier, Elīna Garanča, Wiener Staatsoper, Philippe Jordan (Sony)

SONG 

• Beydts – “Melodies & songs” – Cyrille Dubois, Tristan Raës (Aparte)
• Schubert – “Die schöne Müllerin” – Konstantin Krimmel, Daniel Heide (Alpha)
• “But I Like to Sing” – Carolyn Sampson, Joseph Middleton, Jack Liebeck (BIS)

VOICE AND ENSEMBLE 

• Puccini – “The Great Puccini” – Jonathan Tetelman, Prague Philharmonia, Carlo Rizzi (Deutsche Grammophon)
• “In the Shadows” – Michael Spyres, Les Talens Lyriques, Christophe Rousset (Erato)
• “Paysage” – Véronique Gens, Munich Radio Orchestra, Hervé Niquet (Alpha)

The winner in each category will be named  Oct. 2, 2024 and of those winners, one will be selected as “Recording of the Year.”

“This year’s shortlisted recordings reflect just what an extraordinarily exciting, vibrant and creative sector classical music is today,” Martin Cullingford, Editor of Gramophone, said. “It’s wonderful to see albums by musicians whose achievements we’ve celebrated for a number of years sitting side-by-side with some of the most thrilling and thoughtful artists just beginning their recording careers. Every one of these superb recordings more than justifies their place in our shortlist, and your time and attention as a listener, and collectively they couldn’t offer a more impressive celebration of everything that is most compelling about the art form.”

The post Jonas Kaufmann, Elīna Garanča, Jonathan Tetelman, Véronique Gens, Corinne Winters Among Nominees for Gramophone Classical Music Awards 2024 appeared first on OperaWire.

Few operas have so inextricably been linked with the name of Maria Callas as “Norma.” The first perhaps in a line of 20th century Neoclassicists, she dusted off every inch of (pseudo-)Romantic mannerism and histrionics, restituting to the playbills an uncompromisingly sympathetic interpretation of tragic grandeur, as if sprung from the pen of Jean Racine himself.

Callas’s following has been eclectic, for the most part, though Bel canto specialists like Joan Sutherland have memorably impersonated the Druid priestess. Most recently, the Latvian Marina Rebeka has laid claim to the role, incl. at the Met’s 2017 run of the Bellinian favorite. For Prima Classic, she turns the notoriously formidable score into a triumphant vision of forward thrust and vocal incandescence.

Supremely Norma

Let us be clear: Rebeka’s Norma is quite simply glorious. In exceptional voice, she sails through the part’s innumerable pitfalls with near unmatched intensity, making her character less of an introspective heroine than the dramatic precursor to Verdian protagonists the likes of Odabella, and possibly even Abigaille.

Editorial changes, though minor, reinforce the impression of Rebeka’s forward impetus. For instance, “Casta Diva” is sung in G major instead of the customary F major (as Roger Parker, in the booklet, ever so eloquently explains). This adaptation is a concession of sorts, as Rebeka’s vocal phenotype thrives on the part’s many jumps into the sonic stratosphere; but it does not naturally lend itself to the trenchant coloraturas of virtuoso performers.

The shading, consequently, is not nearly as sophisticated as Callas’s, and her preghiera’s appeal mainly derives from the sculptural elegance of her line rather than the prismatic colors of the syllables taken individually. Still, dynamic variations are subtly transitioned, and the caressingly sustained diminuendo in the cadenza’s repetition is nothing short of a godsent!

The timbre is flamboyantly lavish, and much more idiosyncratic than just a few years ago when, in Prima Classic’s recording of “La Traviata,” her positively unbridled temper would routinely manifest through a somewhat wobbly pitch. In “Norma,” by comparison, everything falls into place quite naturally. The vertiginous high notes are floated when needed (“Casta diva”), or abruptly attacked in the tercet of “Vanne, si, mi lascia, indegno.”

Dramatic Momentum

Rebeka is equally imposing in the duets. In tenor Luciano Ganci she finds a stentorian Pollione, brimmed with the excitement of a larger-than-life persona. He is indebted to a slightly epigonal fascination with del Monaco whose clarion sound puts at risk the elaboration of interpretive nuance.

More sophisticated perhaps, and akin to the example of Christa Ludwig (who never sang the part of Adalgisa!) Karine Deshayes provides a delightful counterpart to Rebeka’s enthralling priestess. She keeps a dramatic edge even at her most vulnerable (“Mira, o Norma”), while her magnetic timbre never fails to blend with the steely clarity of the remaining cast.

It falls in line with conductor John Fiore’s decidedly ingenuous verve. Fiore builds narrative momentum without having to compromise on either melody or chromatic lyricism. At worst, it feels like a slightly anticipated excursion into Verdian soundscapes (especially of the middle period); otherwise, it serves as the congenial baseline to Rebeka’s exceptionally voiced Norma, domineering, and transcending every component part of Prima Classic’s new release.

The post CD Review: Prima Classic’s ‘Norma’ appeared first on OperaWire.

The recording, set to be released on Oct. 4, 2024, will also star Karine Deshayes, Luciano Ganci, and Marko Mimica.

John Fiore conducts the Teatro Real de Madrid Orchestra and Chorus. Meanwhile, the recording is executive produced by Edgardo Vertanessian and Rebeka.

The soprano took to social media and said “Big news! Finally, our NORMA is ready to go out to the world!”

This is the latest complete recording from Prima Classic starring Rebeka. The record label has previously released recordings of “La Traviata” and “Il Pirata.”

Rebeka is well-known for her Norma having performed the opera at the Metropolitan Opera, Teatro Massimo di Palermo, Gran Teatre del Liceu, and Théâtre du Capitole Toulouse, among others. OperaWire has praised her interpretation noting, “Marina Rebeka Makes Powerful Impression.”

The post Prima Classic Announces ‘Norma’ Recording Starring Marina Rebeka appeared first on OperaWire.

We are in the middle of Sesto’s aria “Parto, Parto,” mezzo-soprano Marianne Crebassa sharing  center stage with excellent clarinetist Nicola Boud, when we hear an explosion. As a long-time resident of the United States, my first thoughts were the most dreadful—gunshots, bomb, the apocalypse.

Raphäel Pichon peacefully kept conducting, with longer pauses, perhaps, but, as the fear dissipated, the talent of the musicians on the stage became evident. Even in the most in extremis circumstances, the maintained their concentration. The explosion—quite likely a light bulb—, was never officially explained. The musical success… Here am I!

All Over the Place

“La Clemenza,” though a charming opera, certainly falls short next to its sisters (“Don Giovanni,” “Così,” and certainly “Die Zauberflöte”). Therefore, its cast has a double task: to make the opera work and to be as interesting as Mozart can be. Casting-wise, the night seemed to walk that way: at least half of the most coveted French mezzos were on the stage (Crebassa, Deshayes, and Desandre). Still, opera only works live—and in person—not on paper.

The performance was certainly a smash hit with the audience—few times has a show been so applauded—, but, in my humble opinion, there were great moments and some mishaps. The interesting phenomenon is that often what was imprecise or unexacting here, became the essence of a great success there.

One example is Pichon’s tempi: they were intentionally imprecise or too slow in the recitative, giving the performance a certain aura of solemnity that detracted much from the power of the drama. However, few things were more engaging than the very same tempi in the arias. The breaks in fermata were really taken seriously by him, with long and anguishing pauses that made our concentration splash into the music and the action.

Again, on Pichon and the Pygmalion. From the prelude, one could tell that his orchestra was, perhaps, a bit too quiet for Mozart. Nevertheless, it was precisely such a less flamboyant sonority that allowed many of the singers to sound so bravely in their arias and to pinpoint some beautiful orchestral solos.

Il Talento di…

The opera is called “La Clemenza di Tito,” but it could have been “Il talento di Crebassa.” Despite the excellent quality of the cast, her vocal preeminence  was palpable. Her tone, puerile and boyish, allowed her an expressiveness that made Sesto the most important hero. Few mezzos can sing trouser repertoire so well as she does. Her voice always sounds extremely healthy and focused, with rich lower notes when they are necessary.  Crebassa’s Sesto is almost a call for intellectual redemption—how could one not feel pity for him?

Karine Deshayes, on the other hand, sang a Vitellia full of acidity and ferocity. I have always enjoyed Deshayes’s voice tremendously, but I have never seen her singing a role with so much brutality. Her coloraturas—a bit less comfortable than usual—sounded like punches of anger. It was a very antipathic character—whichi, for Vitellia, is not a problem.

The story was a bit different with Pene Pati. On a personal note, I often think he has the most beautiful tenor voice for Italian repertoire nowadays—his Rodolfo is impeccable, and even in Bellini, he shone—; however, his Mozart is not spotless. He suffered a bit with the slow tempi in the recitatives. In the most lyric aria of the role (“Deh più sublime soglio”), everything went smoothly, especially in the second half, with charming pianos. But “Se all’impero” was bit messy; the ornamentation compromised the quality of the high notes in the end of any longer melisma.

In her usual charming fashion, Lea Desandre sang a vividly charming Annio. Her approach to a trouser role is interesting; her voice sounds brighter, quicker, and somehow, more compelling.

Nahuel di Pierro was a solid Publio, and Emily Pogorelc showed a very beautiful voice singing the role of Servilia.

Perhaps this season at Aix needed a bit more Mozart. The composer, always present in the festival, had little space this time. However, Pichon’s concert version of “Clemenza” was certainly a memorable night, be it because of Crebassa’s spectacular performance, the freshness of the cast, the technical difficulties that did not stop the show or, even, the fact that it happened on the day that Biden chose to drop out of the US presidential race. Regardless of what happened, it was a memorable night for opera.

The post Festival d’Aix-en-Provence 2024 Review: La Clemenza di Tito appeared first on OperaWire.

Opera

The season opens with “Le Pavillon aux pivoines” with Guo Xaionan directing.

Performance Dates: Oct. 17-19, 2024

“Il Cappello di paglia di Firenze” will be conducted by Salvatore Caputo and directed by Julien Duval.

Performance Dates: Nov. 7-9, 2024

Lucie Leguay conducts “Les sentinelles” with Chloé Lechat directing. The cast will include Clara Olivares, Anne-Catherine Gillet, Sylvie Brunet-Grupposo, Camille Schnoor, and Noémie Develay-Ressiguier.

Performance Dates: Nov. 10-14, 2024

Bizet’s “Le Docteur Miracle” will be conducted by Nicolas Simon and will star Dima Bawab, Héloïse Mas, Kaëlig Boché, Thomas Dolié, and Pierre Lebon.

Performance Date: Dec. 15, 2024

Paolo Carignani conducts Bellini’s “Norma” a cast featuring Karine Deshayes, Jean-Francois Borras, Olga Syniakova, and Goderdzi Janelidze.

Performance Dates: Jan. 29-Feb. 6, 2025

The company will present a new production of “Le Barbier de Séville revisited.”

Performance Dates: Feb. 15-16, 2025

Marc Leroy Calatayud conducts Donizetti’s “L’Elisir d’Amore” in a production by Manuel Renga. Emma Fekete, Norma Nahoun, Thomas Ricart, Blaise Rantoanina, Sergio Villegas, and Louis de Lavignère.

Performance Dates: March 14-16, 2025

Beethoven’s “Fidelio” will be conducted by Joseph Swensen and directed by Valentina Carrasco. Jacquelyn Wagner, Jamez McCorkle, Matthew Rose, Polina Shabunina, Kevin Amiel, Szymon Mechliński, and Thomas Dear star.

Performance Dates: May 16-23, 2025

Concerts

Matthias Goerne and Alexander Schmalcz perform music by Schubert.

Performance Date: Oct. 4, 2024

Lauranne Olvia and Jean-Marc Fontana perform in recital.

Performance Date: Oct. 10, 2024

Delyana Lazarova and Florian Sempey join forces for Dvořák, Grétry, Gounod, Wagner, Thomas, and Shostakovich.

Performance Date: Nov. 21, 2024

Daniele Maniscalchi performs Sous le ciel de Naples.

Performance Date: Dec. 1, 2024

Patricia Petibon, Christian-Pierre La Marca, and Susan Manoff will perform in recital.

Performance Date: Feb. 10, 2025

The Conservatoire de Bordeaux-Jacques Thibaud will present a Midi Musical.

Performance Date: April 18, 2025

Pene Pati and Mathieu Pordoy perform Italian arias and Neapolitan arias.

Performance Date: April 26, 2025

The company will present a Concert au Château de Ferrand with the Académie de l’Opéra National de Bordeaux

Performance Date: June 15, 2025

The post Karine Deshayes, Jacquelyn Wagner, Matthias Goerne & Patricia Petibon Lead Opéra National de Bordeaux ‘s 2024-25 Season appeared first on OperaWire.

Opera

Joyce El-Khoury stars in Verdi’s “Aida” alongside Adam Smith, Alisa Kolosova, Adolfo Corrado, and Nikoloz Lagvilava. Pierre Bleuse conducts the production by Philipp Himmelmann.

Performance Dates: Sept. 27-Oct. 5, 2024

Sally Matthews, John Findon, Paula Murrihy, and Caroline Wettergreen headline Strauss’ “Ariadne auf Naxos” with Ben Glassberg. The production will be directed by Jean-Philippe Clarac & Olivier Deloeuil > Le Lab.

Performance Dates: Nov. 15-19, 2024

Claudio Monteverdi’s “L’Incoronazione di Poppea” will feature Catherine Trottmann, Ray Chenez, Victoire Bunel, Adrien Mathonat, Paul Figuier, and Maïlys de Villoutreys.

Performance Date: Dec. 17, 2024

Poulenc’s “Dialogues des Carmélites” will be conducted by Ben Glassberg. Tiphaine Raffier directs the production and will showcase Jérôme Boutillier, Hélène Carpentier, Julien Henric, François Rougier, Lucile Richardot, Axelle Fanyo, Eugénie Joneau, and Emy Gazeilles.

Performance Date: Jan. 28-Feb. 4, 2025

Karine Deshayes, Franco Fagioli, Giorgi Manoshvili, and Alasdair Kent lead the cast of Rossini’s “Semiramide.” Valentina Peleggi conducts the production by Pierre-Emmanuel Rousseau.

Performance Date: June 10-14, 2025

Concerts 

Pierre Dumoussaud conducts Julien Henric and Thomas Dolié. The concert will feature music by Henri Duparc, Jules Massenet, Georges Bizet, Claude Debussy, and Mel Bonis.

Performance Dates: Dec. 20 & 21, 2024

Ben Glassberg conducts Stéphane Degout in a program of music by Camille Pépin, Ernest Chausson, Francis Poulenc, and Sergueï Prokofiev.

Performance Dates: March 28 & 29, 2025

David Bates conducts Lucy Crowe in music by Jean-Philippe Rameau, Wolfgang Amadeus Mozart, Heinrich Biber, Antonio Vivaldi, and Georg Friedrich Haendel.

Performance Dates: April 25 & 26, 2025

Recitals 

Lea Desandre and Alexandre Kantorow perform in recital.

Performance Date: April 22, 2025

Cecilia Bernardini conducts Benjamin Appl and B’Rock Orchestra. The program includes music by Claudio Monteverdi, William Byrd, Antonio Draghi, Carl Heinrich Graun, Georg Philipp Telemann, Ralph Vaughan Williams, Arthur Sullivan, Hans Werner Henze, and Sofia Gubaïdulina.

Performance Date: April 29, 2025

Floriane Hasler performs music by Kaija Saariaho and Edvard Grieg alongside violinist Paul Serri and pianist Romain Louveau.

Performance Date: May 20, 2025

The post Joyce El-Khoury, Adam Smith, Karine Deshayes & Sally Matthews Lead Opéra de Rouen Normandies 2024-25 Season appeared first on OperaWire.

Opera

Michele Spotti conducts Bellini’s “Norma” with Anne Delbee directing. Karine Deshayes stars in the title role with Salomé Jicia, Enea Scala, and Patrick Bollei.

Performance Dates: Sept. 26-Oct. 3, 2024

Alexandra Marcellier, Eugénie Joneau, Thomas Bettinger, and Marc Scoffoni star in Puccini’s “Madama Butterfly.” Paolo Arrivabeni conducts Emmanuelle Bastet’s production.

Performance Dates: Nov. 14-24, 2024

Angélique Boudeville, Marianna Pizzolato, Iván Ayon-Rivas, and Simon Lim star in Verdi’s “Requiem.” Michele Spotti conducts.

Performance Date: Jan. 19, 2025

Cristina Pasaroiu stars in Dvorak’s “Rusalka” with Camille Schnoor, Marion Lebegue, Coline Dutilleul, Sébastien Gueze, and Mischa Schelomianski. Lawrence Foster conducts the production by Jean-Philippe Clarac and Olivier Deloeuil.

Performance Dates: Feb. 11-16, 2025

Monteverdi’s “Orfeo” will star Romain Bockler, María Cristina Kiehr, Louise Thomas, Julie Vercauteren, Philippe Favette, Jean-Manuel Candenot, Imanol Iraola, Lise Viricel, Gabrielle Varbetian, and Logan Lopez Gonzalezs.

Performance Date: March 2, 2025

Catherine Hunold, Charlotte Bonnet, Marion Lebegue, Nicolai Schukoff, Alexandre Duhamel, and Nicolas Cavallier star in Reyer’s “Sigurd.” Jean-Marc Zeitouni conducts the production by Charles Roubaud.

Performance Dates: April 1-5, 2025

Michele Spotti conducts Verdi’s “Il Trovatore” with Angélique Boudeville, Aude Extremo, Teodor Ilincai, and Şerban Vasile. Louis Desire directs.

Performance Dates: June 1-10, 2025

Operetta 

Didier Benetti conducts “La Belle de Cadix” with Carole Clin directing. Caroline Gea, Julie Morgane, Laurence Janot, Jérémy Duffau, Gregory Juppin, Dominique Desmons, Gilen Goicoechea, and Antoine Bonelli star.

Performance Dates: Nov. 23 & 24, 2024

Florent Mayet conducts “Le Grand Mogol” in Yves Coudray’s production. Julia Knecht, Caroline Gea, Jérémy Duffau, Frédéric Cornile, Gilen Goicoechea, and Dominique Desmons.

Performance Dates: Jan. 25 & 26, 2025

Laurence Janot, Carole Clin, Sabrina Kilouli, Matthieu Justine, Jean-Claude Calon, Marc Barrard, Philippe Ermelier, Alfred Bironien, and Frédéric Cornille star in Offenbach’s “La Belle Hélène.” Didier Benetti conducts the production by Bernard Pisani.

Performance Dates: Feb. 22 & 23, 2025

Jan Latron conducts “La Petite Sirène” with a cast that includes Apolline Rai-Westphal, Marion Vergez-Pascal, Marion Lebegue, and Sebastian Monti. Bérénice Collet directs.

Performance Dates: April 3 & 5, 2025

Christian et André Mornet lead “Au pays du soleil” in a production by Carole Clin. The cast includes Camille Mesnard, Julie Morgane, Anny Vogel, Perrine Cabassud, Fabrice Todaro, Philippe Fargues, Gregory Juppin, and Jean-Luc Épitalon.

Performance Dates: April 26 & 27, 2025

Julie Morgane, Cécile Galois, Perrine Cabassud, Carole Clin, Sébastien Lemoine, Fabrice Todaro, Philippe Beranger, Jean-Luc Épitalon, Claude Deschamps, and Jean Goltier star in ” La Mélodie du bonheur.” Carole Clin directs the production while Didier Benetti conducts.

Performance Dates: May 24 & 25, 2025

“Les Dimanches d’Offenbach” will showcase Louise Pingeot, Dominique Desmons, Frank Thezan, Charles Mesrine, Aurélie Fargue, Julia Knecht, Louise Pingeot, Xavier Mauconduit, Dominique Desmons, and Nicolas Bercet.

Performance Dates: March 9 & April 6, 2025

Concerts

Michele Spotti conducts “L’Opéra fête son siècle” with Csilla Boross, Patrizia Ciofi, Enea Scala, Juan Jésus Rodriguez, Marc Barrard, and Nicolas Courjal.

Performance Date: Dec. 3, 2024

Michele Spotti and Regula Muhlemann perform music by Mahler and Schonberg.

Performance Date: Dec. 8, 2024

Didier Benetti conducts the New Year’s Eve concert with soloists Laurence Janot, Florian Laconi, Sébastien Lemoine, and Jean-Claude Clon.

Performance Date: Dec. 31, 2024

Valentin Uryupin and Marina Monzo lead a program of music by Stravinsky, Manuel de Falla, Delibes, Rodrigo, and Britten.

Performance Date: Feb. 23, 2025

The post Karine Deshayes, Enea Scala, Cristina Pasaroiu & Iván Ayon-Rivas Lead Opéra de Marseille’s 2024-25 Season appeared first on OperaWire.