Oct 23, 2017 | News | No Comments
This season, Rossini’s powerful and poignant Semiramide will be seen on the Royal Opera House stage for the first time, with Joyce DiDonato in the title role. With performances from November 19 through December 16, London audiences will have the opportunity to see Ms. DiDonato’s unforgettable portrayal of the tragically fated ruler, which she debuted last season at the Bayerische Staatsoper to great acclaim:
“Her vocal performance was brilliant, marked by a wonderful legato and sparkling coloratura – every asset of a true bel canto artist.” (Bachtrack)
Oct 8, 2017 | News | 1 Comment
All Classes Live Streamed at juilliard.edu/live and available in delayed streaming at medici.tv (Juilliard Press Release)
Juilliard will present a series of live-streamed master classes this season with special guests, pianists Murray Perahia on Thursday, October 12, 2017, at 6pm in Paul Hall and András Schiff on Monday, October 16, 2017, at 4pm in Paul Hall; mezzo-soprano Joyce DiDonato on Tuesday, October 17, 2017, at 4pm in Paul Hall; and conductor Yannick Nézet-Séguin on Friday, January 26, 2018, at 4pm in Paul Hall. Juilliard musicians will have the opportunity to work with these distinguished artists during master classes, which are open to the public. Free tickets are available at juilliard.edu/calendar.
All classes will be live streamed at Juilliard.edu/live and available in delayed streaming at medici.tv. The medici.tv broadcast dates are October 20 at 6pm (CET) for András Schiff; October 21 at 6pm (CET) for Joyce DiDonato; and October 22 at 6pm (CET) for Murray Perahia.
Sep 26, 2017 | News | Opera Reviews | Press | No Comments
“Her partner for many of those duets was Joyce DiDonato, whose performance as the romantic rival Adalgisa provided yet more evidence–as if we needed any–of her status as a supreme bel canto stylist. Her technique as firm as bedrock, she built a gripping character on her fiery vocal interpretation. Her confession to Norma in the Act I duet “Sola, furtiva al tempio” showed palpable sorrow, and a special urgency, as she sang every word as though it were the most important in the libretto.”
Eric C. Simpson, New York Classical Review