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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
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WDBJ7Monday, November 24, 2014
New world and old world combine for tweeting at the opera
New world and old world combine for tweeting at the opera
By Shayne DwyerWDBJ7Monday, November 24, 2014
Opera Roanoke invited a select few Twitter users to live tweet the final dress rehearsal of Mozart's Abduction.
The Washington PostMonday, November 24, 2014
At Washington National Opera, 20-minute operas are on the right track
At Washington National Opera, 20-minute operas are on the right track
By Anne MidgetteThe Washington PostMonday, November 24, 2014
The Washington National Opera’s American Opera Initiative commissions work from young composers. This is a good thing. I am not completely ready to embrace its premise that the best way to start is by commissioning 20-minute operas, because I’m not sure exactly what writing a short-form piece proves about a composer’s ability to write an evening-length work — any more than short-story writers are all necessarily great novelists. But thanks to this program, the company is giving out four commissions every year — three 20-minute operas and a one-hour opera — and that alone is cause for celebration.
Cincinnati.comMonday, November 24, 2014
Jake Heggie's golden moment for 'Great Scott'
Jake Heggie's golden moment for 'Great Scott'
By Janelle GelfandCincinnati.comMonday, November 24, 2014
It's crunch time for Jake Heggie. The composer of "Dead Man Walking," "Moby-Dick" and "The End of the Affair" is in town for a workshop with the creative team of his latest opera "Great Scott. This is the golden moment where, instead of just hearing it in my head, I get to hear it coming off the page," says the 53-year-old American composer, over coffee last week at the Netherland Hilton, Downtown.
SchmoperaMonday, November 24, 2014
Unpaid Artists, and All the Ways They Can Stay That Way
Unpaid Artists, and All the Ways They Can Stay That Way
By Jenna DouglasSchmoperaMonday, November 24, 2014
I came across two separate articles the other day, on the topic of artists working without pay. The first was this open letter to Oprah, written by Revolva, a professional hula hoop act and vaudeville performer. Apparently, Oprah’s The Life You Want Weekend tour invited Revolva to work for their San Jose stop earlier this month. The catch: she’d be working for free.
The New York TimesFriday, November 21, 2014
Metropolitan Opera’s Deficit Swells to $22 Million
Metropolitan Opera’s Deficit Swells to $22 Million
By Michael CooperThe New York TimesFriday, November 21, 2014
The Metropolitan Opera’s deficit ballooned to an estimated $22 million last year, the company said Thursday, as weaker-than-expected contributions and ticket sales combined with expenses related to the company’s labor talks to create its most serious shortfall in decades.
Smartphone App, Tweet Seats Add Interactivity to Philadelphia Concert Halls
By David Patrick StearnsOperavoreFriday, November 21, 2014
The technological barbarians are at the gate – and are being welcomed graciously. Only three years after an errant ringtone during the New York Philharmonic’s performance of Mahler’s Ninth Symphony sparked an international uproar, two august Philadelphia institutions are telling audiences to keep their phones on – within particular limits.
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Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One


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