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      More European Opera Houses Welcome Back Anna Netrebko

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      The star soprano, who lost work after Russia invaded Ukraine because of her past support of President Vladimir V. Putin of Russia, will return to the stage in Zurich and London.Anna Netrebko, the renowned Russian soprano, was shunned by many of the world’s leading opera companies after Russia invaded Ukraine three years ago because of her past support of President Vladimir V. Putin of Russia.Since then, though, a number of Europe’s most prestigious companies have welcomed her back. And next season she will return to two more major opera houses there for the first time since the war began: Zurich Opera and the Royal Opera in London.With those engagements, Ms. Netrebko will have returned to many of the world’s leading stages, with one notable exception: the Metropolitan Opera in New York, where she reigned as a prima donna for two decades.Peter Gelb, the Met’s general manager, severed the company’s ties with Ms. Netrebko three years ago, citing her “close association with Putin.” He has said that he believes Ms. Netrebko, a citizen of Russia and Austria who lives in Vienna, has made a “disingenuous effort to distance herself from the Russian war effort.”Ms. Netrebko sued the Met, accusing the company of discrimination, defamation and breach of contract. A federal judge narrowed the suit last year to gender discrimination claims; her case is still pending.Ms. Netrebko has returned to Teatro alla Scala in Milan, the Berlin State Opera, the Vienna State Opera and the Paris Opera, among others. And in recent days London and Zurich both announced that they, too, would welcome her back.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Singer Sues Met Opera Over Firing for Post-Pregnancy Vocal Problems

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      The mezzo-soprano Anita Rachvelishvili, who suffered vocal problems during and after pregnancy, is suing the opera company — and the union that represented her — after she lost work.The Georgian mezzo-soprano Anita Rachvelishvili was once one of opera’s most sought-after stars, renowned for stirring, powerful performances in works like Bizet’s “Carmen” and Verdi’s “Il Trovatore.”But after she began experiencing vocal problems during pregnancy in 2021, her career suffered. When she returned to the stage of the Metropolitan Opera, company officials later said, she did not sing up to her standard. The Met canceled her upcoming engagements, and she lost work at other opera companies.Now Rachvelishvili, 40, is suing both the Met and the union representing her, seeking more than $400,000 in compensation for lost work. In a complaint filed in late March, she accused the Met of breaching its contracts with her, and she said that her union, the American Guild of Musical Artists, had failed to properly represent her.Rachvelishvili’s lawsuit claimed that the Met had been aware that she had “suffered complications from her pregnancy and birth affecting her voice and vocal range.” The suit described her as being “disabled due to her pregnancy” and accused the opera company of discriminating against her.“I was shocked that I was not given a chance to recover and all of my contracts for the next two years were immediately canceled without pay,” she said in a statement.The Met said it could not comment on pending litigation.Her complaint argues that the Met should compensate her because of a contractual agreement known as “pay or play,” which requires institutions to pay contracted performers even if they later decide not to engage them.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Conductor John Nelson Dead at 83

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      He revived interest in a “problem child” in the pantheon of high romantic composers, bringing Berlioz overdue recognition as one of France’s greatest composers.John Nelson, a genial American conductor who made France love one of its own underappreciated musical sons, Hector Berlioz, died on March 31 at his home in Chicago. He was 83.His death was confirmed by his daughter, Kari Magdalena Chronopoulos, who did not specify the cause.Mr. Nelson made Berlioz (1803-1869), the wild man of 19th-century French music, his passion, performing and promoting his work ceaselessly during a career that stretched over 50 years on both sides of the Atlantic.As a young conductor, he introduced Berlioz’s epic five-act opera “Les Troyens” (“The Trojans”) to New York in a 1972 Carnegie Hall performance deemed “highly successful” at the time by Raymond Ericson of The New York Times.By the end of his career, Mr. Nelson was so closely identified with Berlioz, one of France’s most extravagant musicians, that the British newspaper The Daily Telegraph wrote, “John Nelson was clearly born with Berlioz in his genes.”That remark came in a 2017 review of Mr. Nelson’s much-praised recording of “Les Troyens” with the Strasbourg Philharmonic Orchestra and a cast that included the American soprano Joyce DiDonato.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Conductor Joana Mallwitz Mixes Intensity With Approachability

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      Joana Mallwitz, one of Germany’s fastest rising stars, makes her Metropolitan Opera debut in “The Marriage of Figaro” on Monday.The conductor Joana Mallwitz rehearsing at the Met.The conductor Joana Mallwitz apologized for arriving late for her interview at the Metropolitan Opera House last week, but she had needed to catch her breath after rehearsal. “Conducting is sweaty business,” she said, as she settled into a straight-backed posture on a sofa in the press lounge, her striking hands with long fingers elegantly crossed at the wrists.On Monday, Mallwitz, 39 — the music director of the Konzerthaus Berlin and one of the fastest rising classical stars in her native Germany — makes her Met debut with Mozart’s “The Marriage of Figaro.” She has been in close relationship with that opera since her first job, at 19, at Theater Heidelberg, a small house where her duties included “everything that one does as Kapellmeister,” she said: rehearsing singers, playing the continuo part on the harpsichord and, when needed, jumping in at short notice to conduct a performance.“You develop a relationship with such a work,” she said of “Figaro.” “You get to know each other.”“You develop a relationship with such a work,” Mallwitz said of “The Marriage of Figaro.” “You get to know each other.”Vincent Tullo for The New York TimesAt the end of that afternoon’s rehearsal she had worked with the orchestra on minute details in the overture, finessing dynamic contrasts and highlighting the shock value — “like rock music,” she told the musicians — of the loud outbursts that interrupt the garrulous bubbling fast notes. The key, she said afterward, was to “bring a certain energy into the sound that doesn’t become hard when the playing gets louder.”Working with the Met musicians, she said, was a joy because after fine-tuning a small section, “they are able to feel what my style is and transfer it” to the rest of the piece. “They’re able to pick it up because mentally, too, they are virtuosos,” she said. “It’s incredible what this orchestra is able to deliver in terms of tempo and transparency and diversity of effects. You want to draw on all of that but also achieve a combination of lightness and drama.”Lightness and drama, approachability and uncompromising seriousness in her approach to a score — these are at the heart of Mallwitz’s striking rise to prominence in a profession long dominated by men. In 2014, at 28 she became the music director of Theater Erfurt, the youngest conductor to hold such a position in Europe. In 2018, she took over the leadership of the Nuremberg State Theater, an institution that had also served as a springboard for the conductor Christian Thielemann when he was 23. In her second season there she was voted best conductor of the year by a jury of German critics. A celebrated run of Mozart’s “Cosí Fan Tutte” at Salzburg in 2020 catapulted her to international attention.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Under Trump, Kennedy Center’s Classical Offerings Will (Mostly) Go On

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      The Kennedy Center’s flagship opera company and symphony orchestra announced Thursday that they plan to present robust and fairly typical programs next season, the first full season since President Trump took over the institution.But one prominent work was missing from the lineup: Gregory Spears and Greg Pierce’s “Fellow Travelers,” an opera set in the 1950s about two men working for the government who become lovers. The work was withdrawn by its creators because of concerns about Mr. Trump’s takeover, according to a letter obtained by The New York Times.Washington National Opera said the 2025-26 season would include classics like Verdi’s “Aida” and less commonly heard works like “Treemonisha,” an opera by the ragtime composer Scott Joplin. The National Symphony Orchestra is planning warhorses by Tchaikovsky and Shostakovich and world premieres by Carlos Simon, the Kennedy Center’s composer in residence; Valerie Coleman; and others.In a sign of the political sensitivities at the Kennedy Center, the leaders of the opera and the symphony declined to be interviewed about the new season.The center has been in flux since Mr. Trump purged its previously bipartisan board of Biden appointees and had himself elected chairman. The president’s actions have prompted an outcry, leading some artists to cancel engagements there in protest. The musical “Hamilton” scrapped a planned tour there next year.The classical field, in which seasons are planned years in advance, has largely been unaffected. But the creators of “Fellow Travelers,” an opera based on the 2007 novel by Thomas Mallon, confirmed this week that they were pulling the work, which was supposed to have its Washington premiere next year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How the Dutch National Opera Is Trying to Go Green

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      Opera is an art form made of other art forms: music, theater, dance, visual art, film. It brings together performers, creative teams and audiences from around the world for what, at its finest, is a glorious but ephemeral experience.Imagine, then, the carbon footprint for this grandest of performing arts.It’s not just about the globalized nature of opera today. If companies want to go green, they have to think beyond plane tickets to how productions are made, what materials are used in costumes and sets, and how the theater operates. They have to think about what food they serve, what dishes they use, and whether water comes from glass or plastic bottles. They even have to think about how audience members, often thousands at a time, travel to and from performances.In an age of tighter budgets and rising expenses, it can be difficult for houses to know where to start. But the Dutch National Opera in Amsterdam is setting an example with the great leaps it has made in recent years toward sustainability. The dream, distant for now, is carbon neutrality; the reality may still be a work in progress, yet changes have been adopted with remarkable speed.Under the banner of its Green Deal program, the opera house has brought sustainability to virtually every corner of its operation. This year, it even updated its contracts for creative teams to include a commitment that their productions use at least 50 percent recycled material.The Dutch National Opera has in recent years changed the way its theater operates by calculating the carbon footprints of not only each production, but also each visitor.Jussi Puikkonen for The New York Times“If an artist says, ‘Sorry, but I’m not interested in your Green Deal,’ that’s fine,” said Sophie de Lint, who has been the director of the Dutch National Opera since 2018. “We shake hands and move on. But that hasn’t happened. People are actually really open and want to go there.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump Reimagines the Kennedy Center: Elvis, ‘Cats’ and Babe Ruth

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      A recording of President Trump’s private remarks at a Kennedy Center board meeting shows that he mused about bestowing honors on dead celebrities and people from outside the arts.The new chairman of the John F. Kennedy Center for the Performing Arts had a question for the board. Which musical is best, “The Phantom of the Opera” or “Les Misérables”? (Several trustees seemed to agree it was “Phantom.”)He mused about how great it could be if he hosted the Kennedy Center Honors (“The king of ratings,” he called himself). And he floated the idea of giving awards to dead figures in culture and sports, including Luciano Pavarotti, Elvis Presley and Babe Ruth.Monday was President Trump’s first visit to the Kennedy Center since he took it over last month by replacing all the Biden appointees on the board of the once bipartisan institution and having himself elected chairman.As he gathered members of the new board on the stage of its opera house he expressed strong and sometimes surprising opinions on a variety of matters, according to an audio recording of his private remarks obtained by The New York Times, which was confirmed as authentic by a participant.Asked about the recording, a Kennedy Center official pointed to a social media post by its new president, Richard Grenell, which said that Mr. Trump wants to save the center and “ensure it is the premier Arts institution in the United States” and a place where “EVERYONE is welcome.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘We Are the Lucky Ones’ Gives Operatic Voice to a Generation

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      This new opera assembles a compassionate, haunting portrait of the middle class that emerged from World War II and considers what they leave behind.Theaters are never truly dark. In between performances, a simple floor lamp is placed onstage and switched on. It’s called a ghost light, and depending on whom you ask, it’s either a practical safety measure or a way to ward off spirits. Some say it actually welcomes them.As audience members entered the auditorium of the Dutch National Opera on Friday for the world premiere of “We Are the Lucky Ones,” they were greeted by a ghost light that, true to its history, was open to interpretation.For one, it was a signal of artifice. “We Are the Lucky Ones” may be a moving work of music theater, but it is, ultimately, theater: a space for storytelling and reflection. The ghost light, though, also had a hint of the supernatural, summoning eight singers to an uncanny, purgatorial space so they could share their secrets, regrets and worries for the future.Their stories are, for the most part, true. “We Are the Lucky Ones,” with music by Philip Venables and a libretto by Ted Huffman and Nina Segal, is based on interviews with about 80 people born between 1940 and 1949, distilled into a headlong rush through time.What emerges, in an opera as compact and overwhelming as “Wozzeck,” is a portrait of a generation told with compassion, wisdom and artfulness. You can imagine a version of this story as an indictment of the age group that, as one character admits, “made a mess of things.” But while opera thrives on simplicity, with love blossoming over the few minutes of an aria, “We Are the Lucky Ones” is anything but simple.Stucker, left, and Rosen, in the opera, which is based on interviews with about 80 people born between 1940 and 1949.Dutch National Opera. Photo: Koen BroosWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More