TOSCA, OCTOBER 13 – 22 Music by Giacomo Puccini, Libretto by Luigi Illica and Giuseppe Giacosa, A co-production between Boston Lyric Opera & Opera Omaha, Sung in Italian, with English surtitles, Length: Approximately 2 hours, including 1 intermission SUPER-SHORT SYNOPSIS: Rome, June, 1800: Angelotti, an escaped political prisoner, seeks help from Cavaradossi, a painter and sympathizer with his cause. Cavaradossi conceals Angelotti from Tosca, his lover. A cannon announces the arrival of Scarpia, Chief of Police; the two men flee.
For many, The Marriage of Figaro represents the “perfect” opera—that elusive, ideal blend of sublime music and drama, humane comedy and human foible, social satire and compassionate resolution.
Jane Eaglen made her American debut with the Boston Pops Esplanade Orchestra in the Hatch Memorial Shell on July 3 and 4, 1992. The soprano had been singing professionally in her native Britain for eight years and stood on the cusp of what turned out to be a major international career. Jane Eaglen made her American debut with the Boston Pops Esplanade Orchestra in the Hatch Memorial Shell on July 3 and 4, 1992. The soprano had been singing professionally in her native Britain for eight years and stood on the cusp of what ...
The man to talk to about in the second half of Boston Lyric Opera's 2016/17 Season is David Cushing. The New Hampshire-born bass-baritone is the only soloist who will appear in both of the remaining productions, Stravinsky's The Rake's Progress and Mozart's The Marriage of Figaro.
After this triumph of neoclassicism, Stravinsky abruptly changed compositional course, subsequently writing in the style of musical serialism (closely associated with that other 20th-century titan of composition, Arnold Schoenberg). The upcoming BLO production will use The Rake’s Progress to explore this pivotal moment in Stravinsky’s career: the creative team has secured permission from the Stravinsky estate to add the non-singing role of Stravinsky to the opera.
Greek is not only a reworking of the famed Greek tragedy, but also an adaptation of a 1979 play by Steven Berkoff. By setting Sophocles’ work in contemporary London, Berkoff offered a pointed commentary on the state of Britain in the late 1970s. For his part, Turnage has stated that his political sensibilities, which paralleled Berkoff’s, informed his interest in adapting this work for the operatic stage.