Word: operas
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...curtain calls that tenor Charles Anthony has taken in his long career, one that he is taking this month has to be the most gratifying. In his role in Tosca at Manhattan's Metropolitan Opera House, Anthony, 74, is being celebrated for having sung for 50 consecutive seasons with the Met, a company record. In Tosca he is reaching his 2,882nd performance with the Met, also a record. "Charlie exemplifies what a Met singer is," says the opera's general manager, Joseph Volpe. "You almost can't believe he's been doing it so long. But you always know...
What has kept Anthony's vocal cords robust over the years--in 110 roles in 69 operas--is as much a mystery to him as it is to others. "It must be God's plan," he says. But Anthony has no doubt about what has kept his performances focused: "Abject terror. A singer onstage in the moments before he opens his mouth is the loneliest person in the world. You never know what's going to come out." He adds, "I take it all so seriously. I think of where I am: on the stage of the Metropolitan Opera! When...
...Anthony had better be careful," wrote the New York Times. "If he does other bit parts so vividly, he'll be stamped as a character singer for life." The remark proved prophetic. Although in his early years he took on a number of leading roles, Anthony became what the opera world calls a comprimario--a singer of supporting roles, a specialist in character parts like the Innkeeper in Der Rosenkavalier and the police spy Spoletta in Tosca. "Sure, I feel some regrets," he says. "It's like Marlon Brando's line in On the Waterfront: 'I coulda been a contender...
This year, Lowell House Opera presents a pair of French works: Starvinsky’s L’Historie de Soldat and Ravel’s L’Enfant et les Sortileges. L’Historie is a “musical play” centered around a solider who gives his soul to the devil. L’Enfant is a one-act opera that tells the story of a young boy whose imagination gets the better of him. Directed by Sarah Meyers ’02 and Sean Ryan ’03. March...
Calatrava has brought this vocabulary, both rational and anatomical, to other kinds of public building as well, including the tidal wave of his new opera house in Tenerife, Spain, and his addition to Wisconsin's Milwaukee Museum of Art, a structure that culminates in the rising arc of a sunscreen that opens and closes like the wings of a bird. But recently he unveiled another train station that is sure to become one of his best-remembered structures, not only for its airborne exuberance but also for the location where it brings that feeling to bear--at ground zero...