Success is a relative term-benchmarks and results vary. Fleming is, of course, classically trained as is O’Hara, who earned a BM in vocal performance at Oklahoma City University.ĭiscussing crossover and its related success enhances artistry and marketability. There, Fleming sang one of the show’s most enduring songs, “You’ll Never Walk Alone,” eight shows a week for several months, picking up her first Tony nomination. A high-profile example of this was experienced at the Metropolitan Opera last spring as Broadway star Kelli O’Hara returned to the company’s stage as Despina in the Coney “Così.” Fifteen blocks down on Broadway, Renée Fleming began previews as Nettie Fowler in Carousel at the Imperial Theatre. This type of adaptation is a form of crossover-a point or place of crossing from one side to the other-and is common in opera.įor singers, “crossover” refers more readily to achieving success in a different field or style-think Lady Gaga singing “The Sound of Music” at the Oscars or Thomas Hampson bringing the music of Cole Porter to audiences worldwide. We’ve found Count Almaviva colluding and canoodling in Trump Tower and Scarpia outfitted with a video camera and laptop. Resetting an old opera in a new locale, time, and context isn’t anything new in the opera world. Last season, the Metropolitan Opera presented a new production of Così fan tutte relocating Da Ponte’s libretto to Coney Island.
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