New York (Reuters) - James Levine, the music director for the Metropolitan Opera in New York, will be unable to conduct performances for the rest of the year because of a back injury, the organization said on Tuesday.
Levine fell and injured himself while on vacation in Vermont last week, according to the opera house.
As a result, Italian conductor Fabio Luisi has been named the Met's principal conductor, and he has canceled performances with the Rome Opera, the Genoa Opera, the Vienna Symphony and the San Francisco Symphony to accommodate his new role at the Met.
Luisi, who last year was named principal guest conductor for the Met, will conduct performances of "Don Giovanni," which premiers on October 13, and "Siegfried," on October 27, as well as the Met Orchestra concert at Carnegie Hall on October 16.
"While Jim's latest setback is hugely disappointing for all of us, he joins me in welcoming Fabio's larger role,...
Levine fell and injured himself while on vacation in Vermont last week, according to the opera house.
As a result, Italian conductor Fabio Luisi has been named the Met's principal conductor, and he has canceled performances with the Rome Opera, the Genoa Opera, the Vienna Symphony and the San Francisco Symphony to accommodate his new role at the Met.
Luisi, who last year was named principal guest conductor for the Met, will conduct performances of "Don Giovanni," which premiers on October 13, and "Siegfried," on October 27, as well as the Met Orchestra concert at Carnegie Hall on October 16.
"While Jim's latest setback is hugely disappointing for all of us, he joins me in welcoming Fabio's larger role,...
- 9/6/2011
- by Reuters
- Huffington Post
What you are listening to:
A little medley from some of the films playing for free in our festival of Cannes selected favorites. Go here to see what films are viewable for free in your area.
"Titoli: Atmosfera Tensiva" by Giovanni Fusco. From Michelangelo Antonioni's L'avventura (1960).
"Cucurrucucu Paloma (Live)" by Caetano Veloso. From Wong Kar-wai's Happy Together (1997).
"Ti ricordi di siboney" by Nino Rota. From Federico Fellini's Amacord (1974).
"Mesecina (Moonight)" by Goran Bregovic. From Emir Kusturica's Underground (1995).
"My Favorite Things (Rehearsal)" by Björk. From Lars von Trier's Dancer in the Dark (2000).
"Eternal Smile" by Chow Hsuan. From Johnnie To's Election (2005).
"Notturno II" by Giovanni Fusco. From Michelangelo Antonioni's L'avventura (1960).
"Not Human" by Javier Navarette. From Guillermo Del Toro's Pan's Labyrinth (2006).
"Siegfried's Funeral March" by Richard Wagner. From Aleksandr Sokurov's Moloch (1999).
"Harakiri" by Toru Takemitsu. From Masaki Kobayashi's Harakiri (1962).
"Chunga's Revenge" by Frank Zappa.
A little medley from some of the films playing for free in our festival of Cannes selected favorites. Go here to see what films are viewable for free in your area.
"Titoli: Atmosfera Tensiva" by Giovanni Fusco. From Michelangelo Antonioni's L'avventura (1960).
"Cucurrucucu Paloma (Live)" by Caetano Veloso. From Wong Kar-wai's Happy Together (1997).
"Ti ricordi di siboney" by Nino Rota. From Federico Fellini's Amacord (1974).
"Mesecina (Moonight)" by Goran Bregovic. From Emir Kusturica's Underground (1995).
"My Favorite Things (Rehearsal)" by Björk. From Lars von Trier's Dancer in the Dark (2000).
"Eternal Smile" by Chow Hsuan. From Johnnie To's Election (2005).
"Notturno II" by Giovanni Fusco. From Michelangelo Antonioni's L'avventura (1960).
"Not Human" by Javier Navarette. From Guillermo Del Toro's Pan's Labyrinth (2006).
"Siegfried's Funeral March" by Richard Wagner. From Aleksandr Sokurov's Moloch (1999).
"Harakiri" by Toru Takemitsu. From Masaki Kobayashi's Harakiri (1962).
"Chunga's Revenge" by Frank Zappa.
- 6/2/2010
- MUBI
#1 - Gladiator
(Hans Zimmer and Lisa Gerrard)
There has been much heated discussion this week about whether Hans Zimmer can really be called an "influential" composer, but the proof seems to be in the pudding: Zimmer's output from 1999 until now is impressive, and includes first class film scores for thirteen of the highest grossing films of the past decade. It only seems fitting that he would take our #1 spot, and that SCOREcast readers would vote his score, co-written with Lisa Gerrard, to Ridley Scott's epic masterpiece Gladiator as the number one most influential score of the past decade.
But before we get into the analysis of why Gladiator took the top spot on our countdown, let's recap how we got to this point, starting with the beginning of the Top 10 list (click on any title to read SCOREcast analysis from each score, and comments from the SCOREcast readership):...
(Hans Zimmer and Lisa Gerrard)
There has been much heated discussion this week about whether Hans Zimmer can really be called an "influential" composer, but the proof seems to be in the pudding: Zimmer's output from 1999 until now is impressive, and includes first class film scores for thirteen of the highest grossing films of the past decade. It only seems fitting that he would take our #1 spot, and that SCOREcast readers would vote his score, co-written with Lisa Gerrard, to Ridley Scott's epic masterpiece Gladiator as the number one most influential score of the past decade.
But before we get into the analysis of why Gladiator took the top spot on our countdown, let's recap how we got to this point, starting with the beginning of the Top 10 list (click on any title to read SCOREcast analysis from each score, and comments from the SCOREcast readership):...
- 10/7/2009
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
Two eye-popping experiments make theater and opera more contemporary.
The avalanche of media that buries us all puts theater and opera in a bind: Though their artworks have been timeless for hundreds of years, they're aging fast in the Internet age. Which is why some of them are turning to design, to impart fresh new meaning--and scene stealing eye candy--to old works.
One example this summer: A stage designed by Massimiliano and Doriana Fuksas, for productions of two ancient Greek tragedies, Medea and Oedipus at Colonus, at the Greek Theater in Sircusa, Italy. The amphitheater itself is hundreds of years old; the Fuksas's idea was to create a visual metaphor for catharsis--the ancient-Greek idea of release through drama. To that end, they created an artificial metal "horizon," that would give shadowy reflections of the action on stage, as well as the audience:
Obviously, Fuksas's design was meant to be contemporary and ancient at once.
The avalanche of media that buries us all puts theater and opera in a bind: Though their artworks have been timeless for hundreds of years, they're aging fast in the Internet age. Which is why some of them are turning to design, to impart fresh new meaning--and scene stealing eye candy--to old works.
One example this summer: A stage designed by Massimiliano and Doriana Fuksas, for productions of two ancient Greek tragedies, Medea and Oedipus at Colonus, at the Greek Theater in Sircusa, Italy. The amphitheater itself is hundreds of years old; the Fuksas's idea was to create a visual metaphor for catharsis--the ancient-Greek idea of release through drama. To that end, they created an artificial metal "horizon," that would give shadowy reflections of the action on stage, as well as the audience:
Obviously, Fuksas's design was meant to be contemporary and ancient at once.
- 9/4/2009
- by Cliff Kuang
- Fast Company
Every four years, on January 20th a new president is inaugurated. Every four years, roughly seven months later, the Seattle Opera presents Richard Wagner's Der Ring des Nibelungen. Both events provide extravaganzas and spectacles that incite the imagination. Der Ring des Nibelungen is, however, the vastly better show. When the Seattle Opera mounts the four operas that comprise Der Ring des Nibelungen, it does so in what is as close to a festival atmosphere as America can muster. Following the custom of the Festspielhaus in Bayreuth, Germany, the Seattle Opera presents Das Rheingold on Day One, Die Walkure on Day Two, Siegfried on Day Four and Gotterdammerung on Day Six. (At Bayreuth In days of yore there was no day off between Die Walkure and Siegfried, until the late Birgit Nilsson demanded it. No one,...
- 8/27/2009
- by Ivan Katz
- Huffington Post
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