In 2010 Grandage started to work in opera making his debut at Glyndebourne with a production of Billy Budd. He returns there in 2012 to direct Le Nozze de Figaro. In the U.S. he has also directed at the Metropolitan Opera and at Houston Grand Opera.
Read more about this topic: Michael Grandage
Other articles related to "opera, operas":
... Two years after leaving the conservatory he wrote his first opera -- it was based on Alessandro Manzoni's great novel The Betrothed (I promessi sposi) -- and it was as an opera ... jobs in small cities, and composed several operas, none successful at first ... The following opera, I Lituani (The Lithuanians) (1874), was also well received, being performed later at Saint Petersburg (as Aldona - November 20, 1884) ...
... Major opera companies have begun presenting their performances in local cinemas throughout the United States and many other countries ... The Metropolitan Opera began a series of live high-definition video transmissions to cinemas around the world in 2006 ... San Francisco Opera began prerecorded video transmissions in March 2008 ...
... The following year, she made her debut in Salzburg and at the Royal Opera House, Covent Garden as Mimì, and in the United States with a recital at Carnegie ... In March 1951, she made her Metropolitan Opera debut in New York as Marguérite, and she went on to sing with the company for ten years ... In 1957 she sang at the Vienna State Opera ...
... career began in singing, when he joined the Hamburg Opera (his family, who were traditionally church musicians, came from near Hamburg) in 1718 as a tenor ... he obtained a singing post at the court of Brunswick, where in 1721 his first opera, Antioco, was performed Hasse himself sang in the production ... The success of this work not only earned Hasse many commissions from Naples's opera houses, but also, according to Quantz, brought him into contact with Alessandro Scarlatti, who ...
Famous quotes containing the word opera:
“To survive there, you need the ambition of a Latin-American revolutionary, the ego of a grand opera tenor, and the physical stamina of a cow pony.”
—Billie Burke (18851970)
“If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
—W.H. (Wystan Hugh)
“The opera house sparkled with tiers
And tiers of eyes, like mine enlarged by belladonna,”
—James Merrill (b. 1926)