This Moment in Opera

 

Was part of Don Giovanni autobiographical? Who else may have added to the libretto? How do you approach a piece that's been considered a masterpiece for over two centuries? Conductor Gary Wedow joins us to answer these questions and many more as he discusses our upcoming production of Don Giovanni.

 

How do you turn a short story from the Bible into an operatic masterpiece?  Few people know better than Charles Kondek, librettist of Hugo Weisgall's final opera, Esther.  In this second in a series on Esther, Dramaturg Cori Ellison sits down with Charles Kondek to learn how he brought Esther to life.

 

What is it about bad boys that we all find so appealing?  Director Christopher Alden and Dramaturg Cori Ellison explore this question and many more in our first in a series of podcasts discussing our brand new production of Don Giovanni, coming to New York City Opera this November.

 

For more information on Don Giovanni and to buy tickets, click here.

 

Samson and Delilah and Salomé are just two examples of how bible stories can be brought to life with all the drama of grand opera.  Hugo Weisgall continued that tradition when Esther premiered here at New York City Opera in 1993.  Based on the Bible tale of a brave young girl who becomes queen and ultimately rescues her people from near-destruction, Esther is packed with the personal and political drama that makes for a thrilling night at the opera.

 

In our first in a series of episodes about Esther, Dramaturg Cori Ellison sits down with Rabbi Jill Hammer to discuss the origins of the story of Esther and its relevance to modern audiences.

    

 

 

New York City Opera is busy preparing for the 2009-2010 season.  In this episode, Dramaturg Cori Ellison speaks with  new General Manager and Artistic Director George Steel and Music Director George Manahan about the upcoming season, which includes Mozart's Don Giovanni, Esther by Hugo Weisgall, Puccini's Madama Butterfly, L'Étoile by Chabrier, and Handel's Partenope.