Word: bloed
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...BLO, like all classical music institutions, is trying hard to find ways to engage new audiences, and particularly young audiences. Part of the allure of a lively, fun production like the WNO “Ariadne” is its ability to introduce opera to casual or first-time listeners without condescension or elitism...
Welsh National Opera’s (WNO) production of Richard Strauss and Hugo von Hofmannsthal’s “Ariadne auf Naxos” ran at the Boston Lyric Opera (BLO) from March 12-23 in its North American premiere. The production was worth shipping across the Atlantic. Funny and well-acted, it wryly reimagines Strauss’s and Hofmannsthal’s dialogue between the comic and the serious as a commentary on the state of contemporary opera—simultaneously providing an impressive showcase for virtuoso singing...
...honor of its twenty-fifth anniversary, the Boston Lyric Opera (BLO) decided to give the people of Boston a present: the production of Carmen on the Common. Over the past year, the BLO has spent over a million dollars on Carmen, and its employees have poured an equal amount of energy into the project. Some could imagine, however, that even the most resourceful of BLO employees were overwhelmed upon discovering that the Boston Common sprinklers had soaked all of the costumes the day of the dress rehearsal...
...reenactment of Bizet’s story of a beautiful gypsy girl whose carefree attitude towards love brings her death. Among the 75,000 Boston residents who attended Saturday night’s production, a larger proportion than is usual for operas were families with children or twentysomethings. The BLO had hoped to reach out to a younger audience by producing Carmen in English rather than its original French...
Most of the opera, however, belonged to soprano Labelle, completely entrancing in the title role of Violetta Valery. After making her debut last year in BLO's Lucia de Lammermoor Labelle was named The Boston Globe 1997 Musician of the Year, and with good reason. Her vocal and stylistic range is almost unfathomable: in the course of roughly 10 minutes at the end of the first act, she goes from airy coquettish high notes to the wistful, delicate "Goodbyes" to the passionate lament of the "misterioso" theme that haunts the entire opera. She pulls off coloratura singing--that ornamented style...