Showing posts with label peter gelb. Show all posts
Showing posts with label peter gelb. Show all posts

Thursday, December 13, 2012

NY Post: "He's bari-toned!" - Opera and Fitness

Ildar Abdrazakov
Today' New York Post features an article called "He's bari-toned!," about the new obsession that some opera singers have for fitness. First of all, we love the word "bari-toned" as a term for an opera singer getting fit. (Urban Dictionary, are you listening?). The article also features a "before and after" gallery of soprano Maria Callas, baritone Stan Lacy, tenor Michael Fabiano and soprano Deborah Voight.

With the advent of HD broadcast and YouTube, the issue of a singer's appearance is gaining more attention. Savvy singers are realizing that they're competing with movies and television, as much as the rival singer auditioning for the Met. Singers are also realizing that a healthy diet and a good fitness regimen is lengthening careers in an era of increasing competition. There's a reason that a buff 50-year Dmitri Hvorostovsky is busier than ever or the active 63-year old Ferruccio Furlanetto is playing roles like Attila, a plum leading role sought by singers half his age.

The amazing transformation of emerging talent Chris Carr
It's also refreshing to see someone like Met General Manager Peter Gelb admit that HD broadcasts play into the equation when casting, but also acknowledging that no-one is going to pass up a great voice. What gets lost in this article is the nuance of casting a Brunnhilde or casting a La boheme for international HD broadcast. Also, the old assumption that Maria Callas' voice faded solely because of her weight loss is a huge canard. In 1952, after director Luchino Visconti suggested that she lose weight, the singer swallowed doses of iodine which adversely affected her voice. It wasn't the weight loss, it was how she chose to lose weight.

Seth Carico: Before and After
Singers today, are losing weight through proper diet, exercise and yoga. Many singers like Seth Carico used the Spartacus workout routine to shed a few dozen pounds. Facebook even has a Spartacus site for opera singers called Operaticus where tenors, mezzos, baritones and sopranos share stories and photos about getting in shape. Singers use the site to find others in the area who want to work out together, suggest workout music, ask questions and kvetch about having to get through a routine.

Michael Mayes: Bari-Chunk to Bari-Hunk"
We've seen some amazing physical transformations on this site, including Michael Mayes, whose career took off after an amazing physical transformation allowed him to embody the role of Joseph De Roucher in Jake Heggie's Dead Man Walking, and Chris Carr, who suddenly stood out in a group of emerging young singers as a believable physical and vocal artist. In fact, Michael Mayes' feature "Bari-Chunk to Bari-Hunk" has remained one of our most visited posts and has been cited to us by numerous singers of all vocal types as an inspiration to live a healthier life and work on their appearance. And who can forget William Berger's amazing transformation that made him an operatic pinup boy overnight?

We'll leave you with the words of Peter Gelb from the New York Post's article:
The Met’s general manager, Peter Gelb, says that while larger singers aren’t overlooked, appearance is often a consideration. “We don’t pass on any great singers,” insists Gelb, “but we’re also looking for people who are believable in the world they play.” So does the Met cherry-pick its stars with its eyes more than its ears? “We audition with both,” Gelb says, adding: “If you can’t sing on the stage of the Met, it doesn’t matter what you look like.”
If you want to enjoy an entire year of buff baritones, make sure to order you Barihunks calendar today! It's just over two weeks until 2013 arrives and you won't want to miss one day of these hot guys.

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Sunday, February 19, 2012

"Prima Donna" Opens at New York City Opera Today

Rufus Wainwright, Randal Turner & Melody Moore

The New York City Opera is about to pull off an operatic trifecta when it opens Rufus Wainwright's debut opera "Prima Donna" today at 1:30 PM EST. The opera was originally supposed to make its New York debut at the Metropolitan Opera, but they wouldn't schedule it until 2014. So Wainwright took it across the plaza (which is now at BAM, but that's a whole different story). Not only is City Opera winning the battle over "Prima Donna," but both rising superstar Melody Moore and barihunk sensation Randal Turner will be making their debuts with City Opera before they step on the Met stage. These are two singers who are not to be missed on stage, as they both combine great singing with amazing dramatic instincts.

Someone better call Peter Gelb at the Met!

The opera is making its much-awaited U.S. debut after runs at the Manchester International Festival, Sadler’s Wells and Toronto’s Luminato Festival.

The story of Prima Donna revolves around an aging opera singer who is attempting to revive her career amidst self-doubt, failed romance and crippling loneliness. The opera, sung in French, is set in Paris, 1970. The story is very much inspired by Maria Callas' later years in Paris where she was known to lock herself inside her room and listen to old opera recordings.

We wish everyone well on opening day!



Performances run through February 25 and all remaining tickets are just $25. Click HERE to purchase tickets.

CONTACT US AT Barihunks@gmail.com

Thursday, April 9, 2009

Vanity Fair Features "HOT" Singers: Three Barihunks


[From left to right: Mariusz Kwiecien, Polish baritone; Maija Kovalevska, Latvian soprano; Rolando Villazón, Mexican tenor; Nathan Gunn, American baritone; Danielle de Niese, Australian-born soprano; Erwin Schrott, Uruguayan bass; Anna Netrebko, Russian soprano. Photograph by Wayne Maser; styled by Sarajane Hoare - CLICK IMAGE TO ENLARGE]

High C in High-Def

Meet seven international opera stars who are putting to rest the “fat lady sings” cliché, via live broadcasts to movie theaters.

by Damian Fowler, Vanity Fair, May 2009

Opera is ready for its close-up, Mr. DeMille. Or, rather, Mr. Gelb, for Metropolitan Opera general manager Peter Gelb is responsible for bringing this high art to the silver screen. Since 2006, when the Met first broadcast live in high definition to selected movie theaters—now up to about 850 screens in 36 countries—audiences have been able to feel on intimate terms with world-class singers. “It’s like seeing somebody eye to eye,” says the Australian-born soprano Danielle de Niese, whose performance this past January in Gluck’s Orfeo ed Euridice was beamed out to far-flung aficionados. Given the new craze, it’s a pleasure to have artists who are as easy on the eye as on the ear. A clear leader is Russian soprano Anna Netrebko, whose vocal and physical charms will be staged and screened in the Met’s new production of Offenbach’s Les Contes d’Hoffmann in December, opposite Rolando Villazón, the dashing Mexican tenor. Offstage, her fiancé is the Uruguayan bass Erwin Schrott, who this winter was seducing audiences and maidens alike as Mozart’s Don Giovanni. Another leading man fond of the unbuttoned shirt is American baritone Nathan Gunn, who will be flexing his voice in the upcoming Met season as Papageno in Mozart’s Die Zauberflöte. Joining him in the lower registers, Polish baritone Mariusz Kwiecien will portray the toreador Escamillo in the Met’s new production of Carmen, opening on New Year’s Eve. He’ll be teamed later with Maija Kovalevska, the Latvian soprano, whose high cheekbones and shimmering voice in the role of Micaëla will no doubt cause swooning in cineplexes around the world. Popcorn and Bizet? Why not?

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