This week the Grand Théâtre de Genève is set to open a new production of Giordano’s “Fedora,” a rarely performed work that has become a showcase for a star soprano in recent years. This week Aleksandra Kurzak will sing her first Fedora, adding yet another demanding role to her growing diverse repertoire.

Over the past years, Kurzak has become a great exponent of the verismo repertoire singing the title roles of “Tosca,” and “Madama Butterfly,” Santuzza in “Cavalleria Rusticana,” Nedda in “Pagliacci,” Mimi in “La Bohème,” and Liù in “Turandot.” For her interpretations she has been praised with critics raving about “Kurzak’s impressive cavernous chest tones” and for being one of the “most physically agile sopranos.”  She has also been praised for her commitment to each role and for “deepened emotional” portrayals. With Fedora, Kurzak will have yet another role where she will add her signature acting and vocal qualities to the role.

For those not Genève, the soprano returns to Warsaw for “Madama Butterfly” and “Tosca” and also makes her role debut “Aida” at the Arena di Verona. She also sings her signature Tosca in Berlin and Vienna.

Recordings

For those who want to see more of Kurzak, you can listen to her recording of “la Navarraise” as well as her latest album “Cornelie Falcon,” which features the soprano in a variety of different roles.

Here is a little preview of Kurzak as Fedora and as Tosca.

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A recent winner of the Concurso Tenor Viñas 2024, the Brazilian mezzo-soprano made her Teatro alla Scala earlier in the fall in “Il Cappello di Paglia di Firenze” and then stepped into the company’s “L’Orontea.” “La Forza del Destino” will be her first opening night with the company. Rahal spoke with OperaWire in anticipation of “La Forza de Destino.”

OperaWire: What is it like to perform on opening night with La Scala?

OW: What have you learned from working with such incredible artists at this famed house?

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Over the years, Von Otter has evolved her repertoire from Strauss and early works to performing more modern works. She has world-premiered such operas as Thomas Adès’ “The Exterminating Angel,” Sebastian Fagerlund’s “Höstsonaten,” and Mikael Karlsson’s “Melancholia”

Now she will create the role of Justina which was originally created in the film by Harriet Andersson. The work will combine the acoustic sound of a symphony orchestra with ingenious surround electronics which will once again stretch the mezzo’s virtuosic abilities and continue to showcase her versatility. Von Otter has been praised for her “sublime phrasing” and “beautifully enchanting” tone. 

And for audiences who are not in Brussels for the new work, Mezzo Live and Medici.TV are set to stream the work at a later date. This season the legendary mezzo will also perform in Norway, at the Opera de Lyon, and the Oper Köln in the world premiere of Philippe Manoury’s “Die letzten Tage der Menschheit.”

Recordings

There are so many great recordings to choose from when it comes to Von Otter including an acclaimed “Ariadne auf Naxos,” “La Clemenza di Tito,” a Christmas album, and “Pelléas et Mélisande.”

Here she is performing Mahler Song Cycles.

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After months of cancelations due to vocal issues and several concert performances, Rachvelishvili will make her return to the opera in her role debut as Jezibaba. It’s a departure from the mezzo’s core repertoire who has become well known for her work in Verdi, verismo, and especially her Carmen. She has been hailed for her “sonorous voice,” and “impressive expressiveness.” Jezibaba is a role that plays to Rachvelishvili’s acting strength and of course her enormous and luxurious mezzo voice.

And for those not in Napoli to witness the mezzo’s stage return, La Rai will broadcast the opening night. Later in the season, Rachvelishvili will return to the Arena di Verona for her iconic “Carmen.”

Recordings 

For those wanting to revisit the mezzo’s discography, Rachvelishvili has recordings of “Aida” and “Prince Igor” from the Metropolitan Opera and “Cavalleria Rusticana” under Riccardo Muti. There is also a “Carmen” from the Metropolitan Opera and the Teatro alla Scala.

Here is a preview of “Rusalka” and a look at her Santuzza in “Cavalleria Rusticana.”

 

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Nelson is well-known for his interpretation of Pelléas as he has performed the role to great acclaim at the Norwegian National Opera where he made his European, Ópera de Oviedo, Teatro de la Maestranza in Seville, and Des Moines Metro Opera. For his interpretation, critics have said, “Mr. Nelson was a revelation as a lovable puppy of a Pelléas…His burnished, gleaming outpouring of languid phrases was matched when called for by his skill at regaling us with impassioned, thrilling outbursts of persuasive presence.”

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This week the Berlin State Opera is set to open its production of Strauss’ epic opera “Die Frau Ohne Schatten.” The work is rarely performed because of the immense cast and orchestra it requires so it is always a special work to hear it when it is presented. With this revival, the Berlin State Opera has assembled an all-star cast that also includes rising star Ukrainian bass-baritone Oleksandr Pushniak.

The bass-baritone made his role debut as the Barak during the 2023-24 season at the Semperoper Dresden. For his role, he garnered rave reviews with critics stating, “Ukrainian bass-baritone Oleksandr Pushniak…proved to be an excellent and accomplished complement to his more experienced colleagues. The voice is large but focused, with beautiful legato where needed. His acting as a loving and bewildered husband was sympathetic and genuine.” Now he will take his acclaimed turn to Berlin where he will make his house debut.

Regarding the debut the bass-baritone took to social media and said, “This year, for the second time, I have the great fortune to be part of the mind-blowing cast among VERY strong and star colleagues and to perform the role of Barak in Richard Strauss’ masterpiece ‘Frau ohne Schatten.’ This time under the direction of wonderful Maestro Constantin Trinks. Please keep your fingers crossed, as Barak is probably one of the most challenging roles I have ever sung in my career.”

An Alumnus of the opera studio of the Washington National Opera, Pushniak has performed at the Deutsche Oper Berlin, Staatstheater Braunschweig, Bayreuth Festival, and  Weimar National Theater. This season he will be seen at the Prague National Theatre, Sempoper Dresden, and Weimar National Theater.

Recordings

Pushniak has several recordings including “Das Rheingold” with the Hong Kong Philharmonic, “Sardanapalo,” and “Aladin” with the Staatsorchester Braunschweig on JPC.

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Winner of the “Best Male Newcomer” at the Österreichischer MusikTheater Preis Awards in Vienna, Morstein is a graduate of the Junges Ensemble Theater with the Theater an der Wien and has performed with the Pensacola Opera, Odyssey Opera, Opera Neo, and Chicago Opera Theater. OperaWire spoke to Morestein in anticipation of his role debut in Wexford.

OperaWire: What excites you about performing at the Wexford Festival?

Andrew Morstein: This is my second consecutive season in Wexford, so I am confident in saying that I am most excited for these crowds. This is such a warm and enthusiastic opera community, and I can’t wait to bring this rare piece to life with an incredible set of colleagues both on and off stage.

OW: Mascagni is known for Cavalleria Rusticana. What have you discovered from this work “Le Maschere?”

AM: “Le Maschere” is Mascagni’s homage to Rossini and bel canto, so there are a lot of beautifully florid passages one may not hear in his other work, and yet the sweeping and emotional depth of the score is massive and all-encompassing. Bel canto singing is my artistic home; as someone who performs Rossini on a regular basis, I find the challenge of singing this virtuosic music particularly gratifying. It forces me to constantly work on the fundamentals of singing. This piece by Mascagni is similar in preparation to Almaviva in “Il Barbiere di Siviglia” a role I’ve performed several times. I’m incredibly excited to have this rare role in my repertoire list.

OW: What are the major challenges of this work? What have you learned from singing this work?

AM: I’d say the major challenge of this work is the same as producing any other rarely-performed piece in the sense that we have so few references from which to study and compare. There is also context from early 20th-century Italy that we are contextualizing in a modern setting, which is always a fun experiment. 

Last season at the Wexford Festival, I performed another incredibly rare work in “L’aube Rouge,” which was a nominee for best revival for the International Opera Awards. To bring a role to life that has rarely seen the stage in the modern era (if at all) showed me how important it is to have something to say about the music since audiences will not have any other comparison. There are high stakes in the sense that we get one opportunity to show people the beauty of an unearthed score. To have the responsibility of persuading audiences that yes, this work belongs in our canon, is not something I take lightly.

OW: What are excited for audiences to discover?

AM: I am most excited for audiences to discover this cast. This is a wonderful team across the board, and audiences will be really thrilled by the voices and the orchestra alike. We have an incredible Italian conductor in Francesco Ciluffo, who has become a dear friend and trusted colleague. He understands the nuance and flexibility we need as singers and for the players in the pit to really make this music effervescent and poignant.

Our direction team led by Stefano Ricci has made some really fun choices to showcase this surprising gem of a piece. There are unexpected turns at every end.

Of course, none of this would be possible without the vision of the Director of the Wexford Festival – Rosetta Cucchi. She has single-handedly brought these pieces to the fore for us to play with and showcase. This will be an exciting season! Theatre within Theatre! Nothing not to love about seeing actors play, well, actors!

And for those not in Wexford, Morestein is set to perform in “L’Italiana in Algeri” at the Anchorage Opera.

Recordings

For audiences interested in discovering more about Morstein, here is a look at him singing “Questa o quella” from “Rigoletto” and “Spoletta’s monologue from “Tosca.”

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The work features important spiritual and and 13 singers. For the world premiere, the Seattle Opera has enlisted some of the most important black singers in the world, including Aundi Marie Moore.

Moore will make her Seattle Opera debut after performing to wide acclaim at such companies as the Metropolitan Opera, Dutch National Opera, Opera de Monte Carlo, and Sarasota Opera, among others. A winner of the Sphinx Medal of Excellence, Moore spoke to OperaWire for a short interview in anticipation of the world premiere.

OperaWire: What is it like to work with a living creator? What are the rewards of working with Tazewell?

Aundi Marie Moore: It’s amazing to work with Tazewell because it feels like you’re creating something with him. He’s open to ideas, so we try things and see how they work. He’s also done so much historical research – he’s actually the one who introduced me to these hidden figures. I had heard of Fisk University, but had no idea how it came about, and I had never heard of the Fisk Jubilee Singers. Now I know that the university exists because these singers performed all over the world. They had the fortitude – and I can’t imagine the obstacles and struggles they faced – to persist so that there was a college to educate Black people after slavery. Having Tazewell here to teach us about this history has been invaluable, and it’s amazing to collaborate with such a giant.

OW: What is the responsibility of creating a role and premiering an opera? Tell me about your character Maggie Porter.

AMM: Well, Maggie Porter isn’t just a role or a character – she was a real person, so I’ve tried to be as authentic as possible. In addition to learning from Tazewell, I did my own research, including listening to native Tennesseans on YouTube so I could do my best to emulate their lilt. I also try to embody her strength and courage. Ella Sheppard kept detailed journals in which she described each of the Jubilee Singers, and Maggie was clearly the diva, always wanting to be front and center. Even though it was a choral group, she always envisioned herself as a soloist. She had those types of diva dreams and I’m all here for it! But that wasn’t all she was – she was also a teacher who believed that education was how Black people would be able to rise and have a better life. She was the last of the original Jubilee Singers to pass – she died at age 89 in 1942 – and she is probably one of the reasons I’m singing on stages right now. I stand on the shoulders of Maggie Porter and other African American singers who followed her.

OW: What are the challenges of this music?

AMM: This is a cast of individual opera singers who have all trained extensively as soloists, so the biggest challenge is pulling off the illusion that we’re a choral ensemble with one homogenous sound. It’s a tricky thing for all of us to blend and pull back when needed. We also need to sound like we’ve been singing together forever, as the Jubilees had been. Luckily, everyone is really lovely to work with, so it’s been a lot of fun rehearsing with the cast.

OW: What are you excited for audiences to see in this new work?

AMM: I’m most excited for audiences to learn about the Fisk Jubilee Singers and their enduring impact. This music puts me in such a peaceful state, and I pray that the audiences, no matter their religious beliefs, also feel at peace when they hear these beautiful arrangements. More than anything, I hope that they come away believing that there is always more that can be done. You think back to this troupe of young singers, most of them 18-21 years old – I doubt they imagined they would leave such a legacy. I want others to see that everyone can do their small part and that there’s always more to be done.

This world premiere is not like anything you’ve seen. The beautiful music and great story will keep you engaged, and the singers are so talented. Especially if you’ve never been to the opera, it’s a great first opera.

For those not in Seattle, Moore is set to perform with the National Philharmonic and Opera Theatre of Saint Louis this season. 

Recordings

For those wanting to hear more from the soprano, here is a first look at Moore in “Jubilee” and here she is in “Porgy and Bess” and “La Boheme.”

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On Oct. 2, 2024, the Berlin State Opera will open a new production of “Nabucco.” The production is one of the high-profile profile productions of the year due to its two leads. Luca Salsi, one of the world’s great baritones, takes on the title role, and Anna Netrebko will sing the role of Abigaille for the first time in a staged production.

Abigaille is one of the most difficult soprano roles in the repertoire due to its extreme vocal shifts from the highs to lows. After many canceling the role in London and Vienna, Netrebko finally sang her first performances of Abigaille in Wiesbaden in two concert performances that critics hailed. Critics said she was “more than convincing” and that “Her last great aria with the plea for forgiveness is the artistic and human event of this evening.” Additionally, they said Netrebko “lent the part all her vocal abilities and revealed interesting facets about this evil character.”

The role marks her latest Verdi opera, the composer she has most often performed. Thus far the soprano has sung the roles of Violetta in “La Traviata,” Gilda in “Rigoletto,” Nannetta in “Falstaff,” the title roles of “Aida” and “Giovanna d’Arco,” Leonora in “Il Trovatore” and “La Forza del Destino,” Lady Macbeth in “Macbeth,” and Elisabetta in “Don Carlo.” She is set to add Amelia in “Un Ballo in Maschera” in 2025.

And for those not in Berlin for the upcoming performances Netrebko is set to make role debuts in “Ariadne auf Naxos” and Lisa in “Pique Dame.” She is also set to open the Teatro alla Scala for the seventh time in a new production of “La Forza del Destino.”

Recordings

Some of the soprano’s recent Verdi recordings include “Don Carlo” from La Scala and “Aida” from the Arena di Verona and the Wiener Staatsoper. There are also recordings of “Macbeth” and “Il Trovatore” that are highly acclaimed.

Here she is in “Il Trovatore” and “Aida.”

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On Sept. 23, the Metropolitan Opera will open its 2024-25 season. The season opening is always one of the most glamorous events of the opera season on a worldwide scale. And to commemorate the occasion this year, the company will present Jeanine Tesori’s “Grounded” to the legendary stage for the first time with an acclaimed cast of acclaimed singers. The headliner among them is Canadian mezzo-soprano Emily D’Angelo, who has forged one of the most unique careers in recent years.

D’Angelo will be the lead role of Jess, which she created in 2023 at the Washington National Opera. When the opera world premiered, the mezzo received rave reviews, with critics stating, “The many powerful qualities of her radiant voice incarnated the various sides of the character” and she brings “sensitivity” to the character.

Now she returns to the role in her first lead role at the Met. The mezzo, who made her debut with the company in 2018, has been seen in productions of “Die Zauberflöte,” “La Clemenza di Tito,” “Dialogues des Carmélites,” and “Cendrillon.”

For audiences not able to attend the opening, the opera will be transmitted in Times Square and will later be seen as part of the Live in HD series. Meanwhile, audiences not in New York can see D’Angelo in Berlin in productions of “Idomeneo” and “Der Rosenkavalier,” as well as to the Wiener Staatsoper for “Don Giovanni” and “Così fan tutte.” She also returns to the Met in the spring for “Le Nozze di Figaro.”

Recordings

For further discovery of D’Angelo’s dynamic career, turn to her albums “Enargeia” and “Freezing” for Deustche Grammophon which juxtapose classics with modern composers.

Here is a preview of “Grounded” from the Met.

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