Austin Opera has terminated the contract of artistic director and principal conductor Richard Buckley, effective immediately.
Austin Lyric Opera artistic director Richard Buckley (left) in 2014.
Buckley, who conducts on the international operatic circuit, had held that position since 2004.
In a short statement, the opera said an investigation conducted with outside counsel determined that “inappropriate behavior in violation of the company’s policy on harassment had occurred that was not consistent with the values and standards of Austin Opera.”
In respect for those affected by his conduct, Austin Opera trustees said “staff will not disclose further details about the incidents that occurred.”
Buckley, the son of a famous conductor, was known for conducting symphonies and operas far afield and had been part of at least 40 Austin Opera productions.
As recently as March of last year, Buckley’s conducting earned a $1 million commitment from backers Ernest and Sarah Butler, namesakes for..
PRO boxer Hannah Rankin’s tactic to ensure that she performed to her very best during her final recital at the Royal Academy of Music was somewhat unusual: she treated it like a professional boxing match.
Her boxing coach, Noel Callan, was there in the wings and was psyching the bassoonist up and calming her down at exactly the right moments. And it worked perfectly. “I really wanted to be at my best for my final recital so I got my coach, Noel, to come in treat it like I was going into to a fight,” she explained. “So, in my breaks between playing, I’d go out and have a few deep breaths with him just to help me relax and calm down. And it turned out that was the best I’d ever performed.”
Rankin's two passions could not be more divergent. She spends half her life as a classical musician and the other half as a professional boxer. The 27 year-old, who is originally from Luss near Loch Lomond, has played in orchestras from London to St Petersburg, will tonight embark on her fifth..
Starting Monday, Tokyo Metro Co. will experiment with playing background music on their trains in a bid to provide a more comfortable travel experience for passengers.
The background music will be played on the recently introduced 13000 series trains on the Hibiya Line, for a limited number of trains that run between Naka-Meguro and Kita-Senju, the subway operator said.
A selection of classical music, including popular pieces such as “Clair de Lune” by Claude Debussy as well as relaxation music conducted by a composer named Mitsuhiro, will be heard on the trains. The 13000 series trains, which entered service in March last year, boast a high-quality stereo system. Although the upgraded system was initially intended for special events and automated speaker checks, a recent event sparked an idea to utilize the speakers on regular train services as well, a Tokyo Metro official said.
“A train conductor played some classical music (which is usually used for speaker checks) by accident durin..
Music/News: 12 Jan 2018, 07:38
The Hot Press Newsdesk
Irish Opera's Fat Lady SingsThe 2018 programme will see seven productions over 38 nights in ten different locations across the country and in London.
“This is a fantastic opportunity for us to create something new,” comments Fergus Sheil, Artistic Director of Irish National Opera.
“It is also about defining fresh parameters for what opera could and should be. We are starting at a remarkable time for Irish singers, with so many exceptional artists on the international scene.
We have the chance to make a bold statement to the public in Ireland about our world-class artists and bring as many of them as possible to the broadest of audiences.”
Irish National Opera opens its 2018 season with Thomas Adès’s chamber opera Powder Her Face, in a touring co-production with Northern Ireland Opera (24 February – 9 March).
There's also Patrick Mason’s new staging of The Marriage of Figaro, with Tara Erraught, Jonathan Lemalu, Be..
Sensational young soprano Nadine Sierra, who recently won the 2017 Richard Tucker Award, is back on the Metropolitan Opera stage this month as Susanna in Le Nozze di Figaro. She recently spoke with the Met’s Jay Goodwin about making her role debut as Mozart’s clever, spunky maid.
Even though these performances mark your role debut as Susanna, I imagine you’ve been singing some of her music for years.
Nadine Sierra: Absolutely. I mean, I started studying Susanna when I was about 11 years old—her aria, and some of the duets. And not just Susanna, but also Cherubino. I was using all of the Mozart arias for light sopranos and mezzos to help me build the foundation of my vocal technique. This also isn’t my debut in the opera because the first time I did Figaro, in 2015 with the San Francisco Opera, I was actually singing the Countess.
So over that time and study, what have you learned about Susanna?
I see her as how the Countess used to be, as Rosina [in Il Barbiere di Siviglia]. It’s so..
The eldest of three, Bernstein is born on 25 August in Lawrence, Massachusetts, to Jewish parents, both immigrants from Russia. He starts piano lessons at ten against the wishes of his father, a supplier of hair and beauty products.
At Harvard he studies with Walter Piston and forms friendships with Dimitri Mitropoulos and Aaron Copland. Continuing his conducting at the Curtis institute, he appears at Tanglewood Summer School.
He shoots to fame replacing an ill Bruno Walter as conductor of the New York Philharmonic in Carnegie Hall. Within months the orchestra are playing his First Symphony (‘Jeremiah’).
He marries Chilean actress Felicia Montealegre with whom he subsequently has three children. Having completed a Second Symphony (‘The Age of Anxiety’, 1949) he returns to more popular territory with Trouble in Tahiti (1952), Wonderful Town (1953) and music for the film On the Waterfront (1954).
Hot on the heels of Candide comes his masterpiece, the box-offic..
Sitting in the corner of a room packed to the hilt with close to 25 people, two grand pianos, a few violins, violas, cellos and numerous notation stands, apart from fans crammed in small clusters, German pianist, Martin Helmchen seemed pretty much at home. His rehearsals for the first-of-its-kind four-day Western classical music concert held in the city recently had just gotten over and the placid look on his face had made it clear that it had "hit the right notes". "I have been to Hyderabad once before to keep a private invitation, but this is my first trip to the country as a performer. It is an exciting one as my audience is one that's not familiar with the pieces and composers I play. Hence, the fresh approach to my playing. The hope is to cater to some curious ears and open hearts," says the soft-spoken Martin, meticulously choosing his words like the musical pieces he performs, as he pulls a chair and settles down for an interview.
The early years
Born in 1982, Martin was t..
An opera company and an orchestra are teaming up to tell the story of Ohio's worst weather disaster.
The production to premiere in just over a year focuses on the 1913 flood and its lasting effects in the state capital.
The Columbus Foundation on Wednesday announced a $150,000 arts innovation grant to help fund the production titled "The Flood."
The work is a collaboration of Opera Columbus and the ProMusica Chamber Orchestra.
The disaster unfolded in March 1913 as several days of rain flooded all of Ohio's rivers and streams. More than 20,000 homes were destroyed and at least 400 people died.
The same weather system led to significant flooding in more than a dozen states, from Illinois through Connecticut.
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On any given winter night, the Sarasota Opera House is packed with patrons clad in their best furs and suits.
But if you look closely around 30 minutes before the show, you’ll see some sneakers and jeans standing out in the crowd.
These outliers are students taking advantage of discounted Sarasota Opera tickets, one of many examples of how the opera is working to change the age range of its audience.
It all started with the Culture Collective, the young patrons group for the arts in Sarasota that is now run by the Arts and Cultural Alliance of Sarasota County. Sam Lowry, the opera’s director of audience development, helped relaunch the Culture Collective program in 2013 to get young people tuned into the arts scene. The result was a subscription program giving young adults a discount on several local performances and exhibits throughout the year.
Last year, Lowry utilized this same strategy to start the Da Capo Society, a young patrons group for the Sarasota Opera open to residents ag..
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