Strolling through the streets of the city as he flits about from house to house and job to job, Figaro, the title character of The Barber of Seville, enjoys a freewheeling lifestyle limited only by his own imagination. The circumstances of Rosina, the opera’s principal female character, could hardly be more different. Her movements are restricted to the house of Doctor Bartolo, her guardian, and she fears that she may be trapped there forever, as Bartolo intends to marry her. But when Figaro learns that his friend Count Almaviva is smitten with Rosina, he devises a plan to bring them together, and at first it seems to work brilliantly. The nobleman disguises himself as a poor student named Lindoro to ensure that Rosina loves him for who he truly is, not for his title. She reciprocates his feelings and proclaims that “Lindoro shall be mine.” What could go wrong?
Crossing the Line joins a long tradition of staged performances that dramatize the African American past. Black performing artists have long recognized that the stage is a vitally important platform for the telling of historical stories. As the African American theater critic Lester Walton wrote in 1903, “The stage is the medium by means of which ideas – whether true or false – are disseminated; where many opinions are molded…. The stage will be one of the principal factors in ultimately placing the negro before the public in his true and proper light.”
Get to know the final three composers featured in BLO's upcoming community concert series, Crossing the Line to Freedom, created in partnership with Castle of our Skins. In the spotlight this week: Adolphus Hailstork, Nkeiru Okoye, and Anthony R. Green!
Get to know three of the composers featured in BLO's upcoming community concert series, Crossing the Line to Freedom, created in partnership with Castle of our Skins. In the spotlight this week: Margaret Bonds, Undine Smith Moore, and Dorothy Rudd Moore--three incredible women with equally powerful stories to share!
“I’m knee deep in my opera idea TROUBLE IN TAHITI and loving it,” wrote Leonard Bernstein in a letter to Helen Coates, his childhood-piano-teacher-turned-personal-secretary. The year was 1951, and Bernstein was happily ensconced in bucolic Cuernavaca, Mexico, seeking inspiration and solitude as he worked on his latest project. “I am discovering the beauty of aloneness,” he continued. “I’ve cut off my hair, eat like a pig, sit in my beloved Laurel of India tree, and find that there is a lot of life I know nothing about, especially the life inside me.” Aloneness was a rarity for Bernstein. He was a perennially busy man, in constant demand as a conductor, composer, and educator...
In 2018, a century and a half after the heyday of his career, P. T. Barnum is having a moment.... For opera fans, the movie’s focus on the nineteenth-century superstar soprano Jenny Lind is especially exciting; it’s not often that we get to see an opera singer do double duty as a movie star. And as readers of this blog may know, on February 11, BLO will present a Signature Series event about Barnum, Lind, and their contemporary, the poet Walt Whitman – three of the most important figures in nineteenth-century American culture.
Flung into a world of revolutionary conviction and maddening corruption, horrifying violence and passionate devotion, the title character of Tosca finds herself ensnared in a tightening web of tragic events...Throughout, the celebrated diva Floria Tosca is at the center of the action... As she endures these trials, Tosca emerges as a deeply complex character...
Before Carmen was one of the most famous operas in the world, it was something completely and utterly new. A daring story by a relatively unknown young composer, it broke the conventional rules of the genre and introduced the world to some of the most compelling operatic characters ever created. The world premiere in Paris, on March 3, 1875, caused an uproar among audiences and critics, and initial reactions teetered between shock and fascination. But Carmen soon gained admirers in Paris and beyond.