• Opera North’s Seven Deadly Sins on OperaVision
• Sir Simon Rattle Leads London Symphony in an All-Weill Program
• Sins and Songspiel an “Improbably Wondrous” Night in Sydney
• Blitzstein and Weill: Airborne in Miami
• Eleven Exceptional Singing Actors in 2022 Lotte Lenya Competition
• Selected Upcoming Events

headlines a “Weill – Wagner” April 

on OperaVision

In the midst of the second wave of the pandemic, Opera North’s live-streamed production of The Seven Deadly Sins was hailed as “a triumph to pull off in lockdown.” Directed and choreographed by Gary Clarke and conducted by James Holmes, the production presented the UK premiere of the new instrumentation for 15 players prepared by HK Gruber and Christian Muthspiel. Finding virtue in the necessity of being virtual, the production used multiple cameras and ingenious stage design to extend its reach into living rooms throughout the world. Mezzo-soprano Wallis Giunta and dancer Shelley Eva Haden starred as the two Annas.

Now this remarkable production will come to life again, beginning 8 April on OperaVision. It headlines a month dedicated to “two giants of German opera,” Kurt Weill and Richard Wagner. In addition to the Opera North Seven Deadly Sins, Weill will be represented by Teatro Regio di Parma’s production of Rise and Fall of the City of Mahagonny, beginning 30 April, directed by Henning Brockhaus and conducted by Christopher Franklin. Parsifal at the Hungarian State Opera and a Nationaltheater Mannheim production of The Flying Dutchman round out the month.

(This performance is supported by the Kurt Weill Foundation Grants Program.)

Ecstatic reviews for Red Line Productions’ double bill of Mahagonny Songspiel and the fifteen-player version of The Seven Deadly Sins, directed by Constantine Costi and conducted by Brian Castles-Onion:

★★★★ The Sydney Morning Herald

“The sheer scale of the ambition is mind-boggling. Who’d dream of cramming seventeen musicians, six singers, a dancer and a conductor into this little crucible? Director Constantine Costi would, and it’s hard to imagine the works being done much better.”

★★★★ Limelight

“Margaret Trubiano as Anna I is marvelous, the strength and power of her voice hugely affecting, her facial expressiveness and diction giving depth and poignancy to her character. Although she barely says a word, Allie Graham as Anna II is captivating in her movements, presuming a mélange of styles in keeping with the genre soup of these works, part-ballet, part-cabaret, part Josephine Baker.”

Selected as Finalists 

in 2022 Lotte Lenya Competition

FINAL ROUND FREE AND OPEN TO THE PUBLIC

FRIDAY, 6 MAY @ MERKIN HALL IN NEW YORK CITY

Beginning with more than two hundred and fifty applicants hailing from thirty-nine US states and twenty-one countries, the twenty-fourth edition of the Lotte Lenya Competition has yielded a diverse group of eleven remarkable finalists. Twenty-eight semifinalists auditioned either in-person or remotely and received immediate feedback and coaching. Tony Award winner Victoria Clark and Drama Desk Award winner Lauren Worsham served as coach-judges. The judges’ panel for the final round boasts Jeanine Tesori, Phillip Boykin, and Robin Guarino. This year’s contest promises to be among the most competitive ever. Tickets for this free event are available HERE.

8 April – Concerto for Violin and Wind Orchestra
La Verdi Orchestra Sinfonica in Milan (Maxime Pascal, conductor; Patricia Kopatchinskaja, violin). Also 10 April.

8 April – Die Dreigroschenoper
Berliner Ensemble (Barrie Kosky, director; Adam Benzwi, conductor). Ongoing performances, including 9, 10, 14, 15, 17, 18 April and 11, 12, 25, 26 May.

9 April – Lindberghflug; Airborne Symphony (Blitzstein)
Orchestra Miami (Elaine Rinaldi, conductor).

9 April – Die Dreigroschenoper
Teatrul Regina Maria in Oradea, Romania (Ovidiu Iloc, conductor; Victor Ioan Frunză, director; Victoria Bucun, choreography).

14 April – Die sieben Todsünden
City of Sheffield Youth Orchestra (Chris Gayford, conductor; Clover Kayne, mezzo-soprano; Alice O’Brien, Bianca Mikahil, choreography).

23 April – Street Scene
Staatsschauspiel Dresden (Barbara Beyer, director). Ongoing performances, including 25 April and 1, 8, 13, 19, 25, 29 May.

23 April – Die Dreigroschenoper
Kammerspiele der Josefstadt in Vienna (Torsten Fischer, director; Christian Frank, conductor). Ongoing performances, including 24, 26, April, 6, 18, 19, 20 May.

23 April – Die Dreigroschenoper 
Staatstheater Kassel (Martin G. Berger, director; Peter Schedding, musical director). Ongoing performances, including 24 April, 1, 15 May, 5, 16, 24 June.

26 April – Aufstieg und Fall der Stadt Mahagonny
Teatro Regio Parma (Christopher Franklin, conductor; Henning Brockhaus, director; Valentina Escobar, choreography). Also 28 and 30 April.

27 April – Die sieben Todsünden
London Symphony Orchestra (Sir Simon Rattle, conductor; Magdalena Kožená, Anna I).

28 April – All-Weill Program; includes Die sieben Todsünden, Whitman Songs, etc.
London Symphony Orchestra (Sir Simon Rattle, conductor; Magdalena Kožená, Anna I).

29 April – Weill Songs
Seattle Opera (Lawrence Brownlee, vocals; Shelby Rhoades, piano).

30 April – Die sieben Todsünden
London Symphony Orchestra in Köln (Sir Simon Rattle, conductor; Magdalena Kožená, Anna I). Also 2 May in Essen.

1 May –  Aufstieg und Fall der Stadt Mahagonny
Melbourne Opera (Peter Tregear, conductor; Suzanne Chaundy, director). Also 3, 5 May.

5 May – Die Dreigroschenoper
Augustana College in Rock Island, IL (Shelley Cooper, director). Also 5, 6, 7, 8 May.

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