Nicole Cabell News
American soprano
- soprano
- United States of America
- opera singer, film actor, actor, musician
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2024-04-24
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The Boston Musical Intelligencer
2023-12-19 16:22:40
Locke’s List for 2023: Notable Operatic Recordings Plus
[…] Bologne, chevalier de Saint-Georges, a prominent composer, violinist, and military officer from just before and during the French Revolution, who was born (on the island of Guadeloupe) to a French plantation owner and a woman enslaved to his wife and known as “Ninon.” The opera, first performed in or around 1780, is entitled L’Amant anonyme, and I found it delightful, thanks in part to a team of performers led by the internationally renowned soprano Nicole Cabell. In February, the work will be given three performances, with the dialogue in English (and with surtitles), by Boston Lyric Opera at the Huntington Theatre. Nineteenth century: Some unfamiliar yet often very engaging early nineteenth-century operas got first (or first adequate) recordings, including Meyerbeer’s early Jephtas Gelübde (Jephthah’s Vow, 1812), Cherubini’s 1813 Les Abencérages (of which one tenor aria was previously familiar to opera lovers, from a Roberto Alagna recording), and Il proscritto, an […]
2022-09-07 17:47:00
Royal Albert HallGeorge Walker: Lilacs Beethoven: Symphony no.9 in D minor, op.125 Nicole Cabell (soprano)Raehann Bryce-Davis (mezzo-soprano)Zwakele Tshabalala (tenor)Ryan Speedo Green (baritone)Chineke! Voices (chorus master: Simon Halsey)Chineke! OrchestraKevin John Edusei (conductor) Very much a concert of two (unequal) halves, I am afraid. The first Proms performance of George Walker’s 1995 Lilacspromised and delivered much. However, the following performance of Beethoven’s Ninth Symphony, though loudly acclaimed by much of the audience, exposed yet another contemporary conductor’s inability or unwillingness to do much more than skate over and harry this unluckiest of scores. Walker’s piece, for voice (Nicole Cabell) and orchestra offered many connections, even correspondences, with other music. What music, after all, does not? It could never, however, be reduced to those correspondences, speaking very much with its own voice and in its own way: direct yet rich, purposeful, yet (unlike poor Beethoven) with plenty of space. The opening horn […]
2021-11-24 05:52:00
Media Round-Up and Further Commentary on Così fan tutte at San Francisco Opera
[…] and Joshua, it's an energetic delight, for Christian Ocier, it's "cartoonish farce", "oafish antics", "slapstick", and "cheap laughs." Steven Winn also likes the production. I tried unsuccessfully to work something into my review about the production skating as close as possible to edge of farce without crossing the line, so I was aware of the risks Cavanagh took. Unlike Ocier, I felt he negotiated this fine line extremely well. Ocier also points out Cabell's low-register weakness, and that's fair; I would have liked more punch in the low end of "Come scoglio," but otherwise I thought she did fine in the aria. Ferruccio Furlanetto as Don Alfonso and Nicole Heaston as Despina in Mozart's "Così fan tutte." Photo: Cory Weaver/San Francisco Opera My review tries to convey the intelligence of the direction, the virtues of which include the lack of stand-and-sing and ample […]
2021-09-25 00:14:56
NYTimes.com:Stream an Operatic Rarity by a Black Composer...William Grant Still’s "Highway 1, U.S.A.,” staged by Opera Theater of St. Louis, is...online until Sept. 30
Will Liverman and Nicole Cabell star in this 50-minute one-act by William Grant Still. Credit... Eric Woolsey The New York Times Seth Colter Walls Sept. 24, 2021 Want a break from prestige TV for an evening? Good news: An important 20th-century American opera is newly available to stream, after a rare live staging this summer. And it’s about 50 minutes long, just like an episode of “The Crown.” The bad news: It’s only available until Sept. 30. (Tight streaming windows are an all-too-regular issue in a classical field still adapting to digital formats.) The work is “Highway 1, U.S.A,” which combines swift narrative drive and some folksy, mellifluous tunes with a look at the tension between community belonging and individual advancement. The plucky company is Opera Theater of St. Louis, which has made its summer festival slate available for […]
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